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Sjöholm, Jenny
Publications (6 of 6) Show all publications
Sjöholm, J. & Pasquinelli, C. (2014). Artist brand building: towards a spatial perspective. Arts marketing: An international journal, 4(1/2), 2-9
Open this publication in new window or tab >>Artist brand building: towards a spatial perspective
2014 (English)In: Arts marketing: An international journal, ISSN 2044-2084, Vol. 4, no 1/2, p. 2-9Article in journal (Refereed) Published
Abstract [en]

Purpose

This article analyses how contemporary artists construct and position their ´person brands´ and reflects on the extent to which artist brand building results from strategic brand management.

Design/methodology/approach

A conceptual framework proposes a spatial perspective on artist brand building to reach an analytical insight into the case of visual artists in London. The empirical analysis is qualitative, based on serial and in-depth interviews, complemented by participant observations.

Findings

Artist brand building relies on the creation and continuous redefinition of ´in-between spaces´ that exist at the blurred boundaries separating an individual and isolated art studio, and the social and visible art scene. Artist brand building is a bundle of mechanisms that, mainly occurring without strategic thinking, are ´nested´ within the art production process throughout which learning, producing and performing are heavily intertwined.

Research limitations/implications

This study was undertaken with a focus on visual artists and specific operations and spatialities of their individual art projects. Further empirical research is required in order to fully explore the manifold of practices and spatialities that constitute contemporary artistic practice.

Practical implications

This study fosters artists´ awareness of branding effects that spillover from artistic production, and thus potentially opens the way to a more strategic capitalization on these.

Originality/value

The adopted spatial perspective on the process of artist brand building helps to uncover ´relatively visible´ and ´relatively invisible´ spatialities that, usually overlooked in branding debate, play a significant role in artist brand building.

Place, publisher, year, edition, pages
Emerald Group Publishing Limited, 2014
National Category
Social Sciences
Research subject
Social and Economic Geography
Identifiers
urn:nbn:se:uu:diva-230360 (URN)10.1108/AM-08-2014-0028 (DOI)
Available from: 2014-08-22 Created: 2014-08-22 Last updated: 2015-09-22Bibliographically approved
Sjöholm, J. (2013). Review of "Creative Cities and Innovation in Europe: Concepts, Measures and Comparative Case Studies", by Luciana Lazzeretti (ed); 2012; London: Routledge [Review]. Papers in regional science (Print), 92(2 SI), 442-444
Open this publication in new window or tab >>Review of "Creative Cities and Innovation in Europe: Concepts, Measures and Comparative Case Studies", by Luciana Lazzeretti (ed); 2012; London: Routledge
2013 (English)In: Papers in regional science (Print), ISSN 1056-8190, E-ISSN 1435-5957, Vol. 92, no 2 SI, p. 442-444Article, book review (Refereed) Published
Place, publisher, year, edition, pages
London and New York: Routledge, 2013
National Category
Social Sciences
Research subject
Geography
Identifiers
urn:nbn:se:uu:diva-196175 (URN)10.1111/pirs.12032 (DOI)000319811300015 ()
Note

ISBN: 978-0-415-67740-0

Available from: 2013-03-05 Created: 2013-03-05 Last updated: 2017-12-06Bibliographically approved
Sjöholm, J. (2013). The art studio as archive: tracing the geography of artistic potentiality, progress and production. Cultural Geographies, 21(3), 505-514
Open this publication in new window or tab >>The art studio as archive: tracing the geography of artistic potentiality, progress and production
2013 (English)In: Cultural Geographies, ISSN 1474-4740, E-ISSN 1477-0881, Vol. 21, no 3, p. 505-514Article in journal (Refereed) Published
Abstract [en]

Despite artistic practices, sites and modes of production and expression being in constant flux, and artistic production being of fragmented and temporal, often precarious status, this article emphasizes how the studio is and remains an important instrument and base of contemporary artistic performance. Based on qualitative research on contemporary visual artists’ work practices in London, this study presents accounts on how artists come to perceive but also construct the work and studio environment in which they are located; how they recognize the potential opportunities of this relation as well as how they actively react in order to practice and use such space. The artist’s studio is a space from which the alchemy of an art form cannot be completely revealed. Yet, with all its material, the studio is a space whose materialities are manifestations, documentations and traces of studio processes and visual artists’ work. The studio represents collections of clues and traces of the artists’ working lives and, for the artists, the studio is not only a space for work in progress but also for storage and creative resources. It is a space where they filter, sort, store and appropriate active actants, remnants and traces of their working lives inside the studio as well as their inspirational journeys outside. The studio is a space where objects and documents are placed as a way to mark an end to a process, but it is also a space where things originate or are reinvented – it is a space where things begin. However, in its particular set-up there is a creative limitation; there is a limiting order of the material collected that can authorize and command the future development of artistic work. There is an archival notion of the making and thinking in the modern art studio.

Keywords
The art studio, archive, visual artists, artistic production, London
National Category
Economic Geography Human Geography
Research subject
Geography
Identifiers
urn:nbn:se:uu:diva-194057 (URN)10.1177/1474474012473060 (DOI)000337700800010 ()
Available from: 2013-02-07 Created: 2013-02-07 Last updated: 2017-12-06Bibliographically approved
Sjöholm, J. (2013). The role of the art studio in contemporary artistic production. Uppsala: CIND Centre for Research on Innovation and Industrial Dynamics
Open this publication in new window or tab >>The role of the art studio in contemporary artistic production
2013 (English)Report (Other academic)
Abstract [en]

This paper explores the modern art studio as a central space for individual creative actions and knowledgeproduction by focusing on the methodological and productive function of London-based studios. Drawing onLondon-based visual artists’ narratives and on material traces of their work processes – such as sketchbooks,collected objects and prototypes – the article presents the art studio as a microcosm of an artist’s self-directedwork in progress, creativity, knowledge, thought and expression. It is argued that the studio offers insights into amaking and knowledge that is investigative and experimental; into the practices and skills visual artists need inorder to transform initial plans, ideas into material work. The article presents the studio as a space where oldworks, works in progress and the fruits of the artist’s research activities mingle in controlled chaos. The studio isdiscussed as a space of discovery, where collected and selected objects and research materials and experiencesresonate with each other and provoke reflection and thinking. Furthermore, in contrast, the studio is alsopresented as a space of material engagement and enchantment, a workshop, where a large part of themethodological practice is based on the recurrence of manual labour. It is a space where artists persistentlypractice their craft until practical knowledge becomes embodied skill and the physical act of making becomessecond-nature. Experimentation and creativity in the studio is seen to rely on a productive and ambiguoustension based on the knowledge practices of contemplation and elaboration, critical thinking and bodilyengagement, instruction and improvisation: the studio is a personal laboratory. In the context of the culturaleconomy as well as the individualization of the economy, this paper highlights individualized and dynamicartistic production processes and reveals how micro spaces of work and creativity are arranged to engage withexperimentation, making and knowing.

Place, publisher, year, edition, pages
Uppsala: CIND Centre for Research on Innovation and Industrial Dynamics, 2013. p. 34
Series
CIND research paper ; 2013:1
Keywords
art studio, visual artists, self-directed work, knowledge, experimentation, London
National Category
Social and Economic Geography
Research subject
Geography
Identifiers
urn:nbn:se:uu:diva-195962 (URN)
Available from: 2013-03-04 Created: 2013-03-01 Last updated: 2013-03-04Bibliographically approved
Sjöholm, J. (2012). Geographies of the artist's studio #1. London: Squid & Tabernacle
Open this publication in new window or tab >>Geographies of the artist's studio #1
2012 (English)Book (Other academic)
Place, publisher, year, edition, pages
London: Squid & Tabernacle, 2012. p. 87
National Category
Social and Economic Geography
Identifiers
urn:nbn:se:uu:diva-194058 (URN)9780957212305 (ISBN)
Available from: 2013-02-07 Created: 2013-02-07 Last updated: 2015-05-07Bibliographically approved
Sjöholm, J. (2010). The geographies of knowledge in (making) artwork: The field, the art studio and the art scene. (Doctoral dissertation). Uppsala: Department of Social and Economic Geography, Uppsala University
Open this publication in new window or tab >>The geographies of knowledge in (making) artwork: The field, the art studio and the art scene
2010 (English)Doctoral thesis, monograph (Other academic)
Abstract [en]

This thesis is concerned with the professional knowledge processes that contemporary visual artists develop and use in their construction of art as well as of their careers. In contributing to the geographical literature on professional learning and artistic labour, the thesis explores the question of how self-employed artists generate, apply and communicate their knowledge and skills in the context of individual work projects.

Drawing on London-based visual artists’ narratives and on material traces of their work processes – such as sketchbooks, collected objects and prototypes – the thesis presents artists as actors who learn through embodied but also mobile and geographically-sensitive processes.

I argue that knowledge practice in the visual arts is the outcome of embodiment and individual experience, and hence that understanding practical knowledge and skills in this sphere requires us to explore the corporeal embeddedness of learners’ perception and action in their local environments. We must be alert to the various characters of artistic knowledge, involving non-cognitive, affective, haptic and emotive as well as cognitive, rational and reflective elements. Knowledge within the visual arts, in short, is multi-dimensional. The generation of artists’ knowledge, understandings and insights are suggested to be dependent and encouraged by different resources and stimuli acquired from a variety of spaces.

The thesis demonstrates this multi-dimensionality by showing how artists construct their art, knowledge, careers and professional development through moving between different workspaces, and by exploring the mobile agencies that connect and separate such spaces. I argue that it is through movements – not only of artists but also of their work material – that knowledge and pieces of art emerge. In illustrating these movements, this study explores the micro-geographical knowledge sites of the field, the studio and the art scene.

 

Place, publisher, year, edition, pages
Uppsala: Department of Social and Economic Geography, Uppsala University, 2010. p. 219
Series
Geografiska regionstudier, ISSN 0431-2023 ; 86
Keywords
Contemporary visual artists, learning, skills, artistic work practices, mobilities, embodied knowledge, art studio, art scene, art industry, immaterial labour, economic and cultural geography.
National Category
Social and Economic Geography
Research subject
Geography
Identifiers
urn:nbn:se:uu:diva-132086 (URN)978-91-506-2159-4 (ISBN)
Public defence
2010-11-26, Auditorium Minus, Museum Gustavianum, Akademigatan 3, Uppsala, 13:15 (English)
Opponent
Supervisors
Available from: 2010-11-04 Created: 2010-10-14 Last updated: 2013-03-01
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