Painting equality : female artists as cultural entrepreneurial marketers

Purpose – There is growing interest by marketers in historical accounts that paint early female artists as entrepreneurial marketers. The purpose of this paper is to challenge the traditional view of entrepreneurship to incorporate a feminist theory of cultural entrepreneurship by considering the role of two female artists.
Design/methodology/approach – Using calls for historical research and new methods of enquiry in marketing, this paper traces early female artists and applies modern entrepreneurial theory to their marketing methods to identify their innovation, adaptability to change and planned marketing approach.
Findings – The paper suggests that entrepreneurial marketing is fused with the artists’ persona resulting in their celebrated status being widely recognised. It contributes an important fresh body of knowledge to the wider entrepreneurship debate by offering a new model of cultural entrepreneurial marketing. The three concepts of innovation, adaptability and marketing approach have not previously been applied to link women artists as entrepreneurs, however, this article argues that there is plenty of evidence to do so.
Research limitations/implications – While these artists are Australian (which could be seen to be a limitation), the art market is indeed international. In this respect, these artists join a longer international history as producers and consumers involved in entrepreneurial organisations from early days.
Originality/value – The artists’ significance falls within the context of emerging modernism, feminism and cultural identity during the 1920s and 1930s in Sydney, Australia. It is combined with and explains the actions and the success of two female artists’ unusual marketing approach. It is of value to readers interested in historical context regarding equality in the visual arts.

Roman concept of mental capacity to make end-of-life decisions

When assessing decisional competence of patients, psychiatrists have to balance the patients' right to personal autonomy, their condition and wishes against principles of medical ethics and professional discretion. This article explores the age-old legal and ethical dilemmas posed by refusal of vital medical treatment by patients and their mental capacity to make end-of-life decisions against the background of philosophical, legal and medical approaches to these issues in the time of the Younger Pliny (c62–c113 CE). Classical Roman discourse regarding mental competency and "voluntary death" formed an important theme of the vast corpus of Greco-Roman writings, which was moulded not only by legal permissibility of suicide but also by philosophical (in modern terms, moral or ethical) considerations. Indeed, the legal and ethical issues of evaluating the acceptability of end of life decisions discussed in the Letters are as pertinent today as they were 2000 years ago. We may gain valuable insights about our own methodologies and frames of reference in this area of the law and psychiatry by examining Classical Roman approaches to evaluating acceptability of death-choices as described in Pliny's Letters and the writings of some of his peers.

Deborah Walker : recent painting

Artworks exhibited : Life 2008 - BKK 2008 - The Oracle 2008 - The Revolution 2008 - The Little Dog 2008 - Modern 2008 - The Unifier 2008 - Love 2008 - Mother 2008 - Shiva 2008 - Homage 2008 - The Beauty 2008 - Apollo 2008 - Troy 2008 - Suvarnabhumi (the plane) 2008 - Uncle Basil 2008 - The Daughter 2008 - Gods of War 2008 - The Trojans 2008 - Le Grand pere 2008 - Albert -  I Remember The Beach 2007 - I Remember The Beach II - My Cosmic Lady 2008 - On The Avenue - Space Pervades a Jar Drawings : Cyberman - Minatour - Fishlady - Italy - Kaspar - Madonna - Red Vessel - Ganesa - Cowboys - Sun - Fire Engine - Kneeling Woman - Blowing Bubbles - Bridge and Horse and Cloud - Kasper Hauser - Eyeball and Watering Can - Red Head - Bombay - Blue Eyes and monkey God - Blue Girl With Buddha

Metaphoric use of the mountain symbol in painting

This paper consists of two parts. The focus of Part I is the symbol of the mountain and its metaphoric use in art history and in the mythology of many cultures. Part II links an examination of twentieth century contemporary artists and relevant issues, the mythology and historical references covered in Part I and the paintings that make up the body of the thesis. The study is concerned with the role of the symbol and the form of its interpretation in the expression of ideas and images that are relevant to it. These themes have been developed in order to place the paintings in a context of continuity and establish iconographic links with the past. One particular site has been chosen through which to examine the symbolic associations between the mountain and the metaphoric quest. The metaphor of pilgrimage to the site and of searching for a lost unity is implicit in this process. The realisation reached at the summit confirms the significance of this journey. Each painting is discussed and linked with the themes that are relevant to it, linking the research recorded in Part I with the execution of the paintings, aiming at a synthesis of theory and practice.

Study in Roman-Maccabaean relations

[No Abstract]

Painting that moves : digital realism and the single moving image

Explores space and object relations in a digital 3-D animation production, "Moving-Image". The exegesis examines these relations through an analysis of pictorial realism in painting. The illusion of three dimensional forms in the space of the computer screen is contextualised by investigation of the work's underlying digital conditions.

Photography towards painting : the techniques of large contact negatives

Investigates the relationship between painting and photography, with a special focus on techniques using large contact negatives and digital applications. The thesis is comprised of a written exegesis that contextualises and informs upon an exhibition of photographic and digital inkjet montages. It discusses the theoretical and structural issues underpinning the conceptual basis of the research and elaborates upon the applications and processes involved in producing each exhibited image.

L. Bernard Hall and the feminine in Australian painting 1885-1935

This thesis draws on images to explore the processes by which an individual - Lindsay Bernard Hall - and a categorical concept - the feminine - became devalued in Australia's national tradition. It celebrates Hall's contribution to Australia's cultural heritage and the significance of his art in the visual record of modernising womanhood.