The purpose of this bachelor thesis was to illuminate and analyze the working conditions of visual Artists in the Swedish region of Värmland. As a profession which is known to have many problems concerning income and the fact that most artist are unable to get by on their art sales alone it becomes interesting to look closer on cultural policy?s affecting the Artists, where the problems lie and what possible help they can get.I have used previous research and different sources to map out the working conditions in Sweden and Värmland alike and also interviewed five different visual Artists in Värmland to get a general view of the working conditions in the country as a whole and their perception of the situation and special circumstances in Värmland. I have also used discourse analysis to compare the source material with the answers of my respondents to see which discourses that exists, that have hegemony, and to see how this subject is talked about.The results of this study showed how political decisions may force Artists to become self-employed entrepreneurs even though many Artists do not self-identify as such or even have any interest in profitable gain. The study also shows among other things that most Artists have another occupation on the side but that there are some aids to help the Artists with income.

Title: Artists? identity and image ? a brand perspective The purpose of this study has been to create an understanding of how Artists in the music business can be seen as brands and to see what stands out when having this approach. During the study we have focused on the two terms identity and image. We find this issue interesting and relevant since branding has been widely discussed in business economy, but not enough when it comes to Artists in the music business. To answer our research question we have targeted three aims for this essay, which is to clarify and analyze:? Identity and image when people are viewed as brands? What specifically characterizes the image of the Artists when they are seen as brands and what it might mean that Artists are considered as brands? How Artists identity and image can be highlighted, shaped, influenced and how it can changeIn this study we have used a qualitative approach to get the topic in depth and gain a greater understanding for the subject.

This thesis explores the conditions of painting Artists in the former GDR. The conclusion after studying rather many Artists excepted paintings is, that they had a very personal style within the figuration, considering the official prescription of Social realism. The main objective for the study is common motives and changes over time. It showed a development against greater freedom in expression. A closer analyse of one painter´s work (Susanne Kandt-Horn) and of the exhibitions in Rostock Art Museum during the 80´s illustrates the circumstances under which the Artists lived..

The main purpose of this essay is to investigate professional Artists experience of the need and use of information in their creative work. I have collected the material through qualitative interviews with four professional artist working with different materials and techniques. One of the results of the study is that the Artists first of all used information as a source of inspiration in their creative work. They gathered their information from various scources, for example; pictures, exhibitions, visual arts, books and novells, depending on what project they are working with. Other important information scources were colleges, especially for the technical information need.

The research this report is based on aims to find out the characteristic features of the marketing tools that are essential for a music artist, and define a successful artist. The thesis arises and discusses how different medias can have an affect on an Artists career and on his/hers achievement. To bee seen in the right medias can have an important influence on their career. To be able to answer our aim we have interviewed people who have a solid knowledge about music business, we have also used a qualitative method. The outcome of the research is that there are some indications that show important factors which are essential when it comes to marketing Artists.

Politicians attract their voters by promising more jobs and investment in education, health and social care. Against this background, I wonder how the situation of Artists will be affected by the followingquestions:? What political views on the artist's position in society appeared in propositions of Socialdemokraterna and Moderaterna?? In what way did these propositions influence the conditions of Artists?? How have the Artists of Värmland been affected by different (Socialdemokraterna and Moderaterna) cultural policies? With my investigation I find out more about the Artists' conditions on a national level, but I also investigate the situation in Värmland. By examining policy proposals and reports, I learn more about the issues. I also conduct a survey and three in-depth interviews to obtain opinions from various sources.The respondents are the cultural departments of Värmland and representatives from cultural organizations.What is clear from my research is that politicians differ on some issues, especially those relating to commercialism and artist salaries.

Title: Artists? identity and image ? a brand perspective The purpose of this study has been to create an understanding of how Artists in the music business can be seen as brands and to see what stands out when having this approach. During the study we have focused on the two terms identity and image. We find this issue interesting and relevant since branding has been widely discussed in business economy, but not enough when it comes to Artists in the music business. To answer our research question we have targeted three aims for this essay, which is to clarify and analyze:? Identity and image when people are viewed as brands? What specifically characterizes the image of the Artists when they are seen as brands and what it might mean that Artists are considered as brands? How Artists identity and image can be highlighted, shaped, influenced and how it can changeIn this study we have used a qualitative approach to get the topic in depth and gain a greater understanding for the subject.

The aim of this study is to create understanding of why companies should collaborate with Artists and how Artists and businesses build strong partnerships. We also want to understand the development of relations between the music industry and companies, together with the problems, possibilities and implications it has for both Artists and corporate identity and brand. The music industry has been changing rapidly during the digital revolution and new problems and opportunities have emerged which the music industry can choose to either embrace or renounce. This study is made with a qualitative approach based on interviews with relevant individuals from the music industry. We have carefully chosen these individuals to counterpart different segments of the music industry and to execute our purpose from various perspectives.

Konsten att sälja sig själv/The art of selling yourself grasps the complex of problems that occur when Artists chooses to start their own record companies. Not only must the artist fulfil the cultural aspects of being an artist but also the economical aspects of running a business. This means that the artist?s identities and roles become more complex. The purpose of this paper is to understand the construction of identities among Artists who run their own record companies.

The study set out to find how Artists organize and use their personal collections from a Personal Information Management (PIM) perspective, and how that use affects their practice and their art production. A secondary object of the study was to articulate the ways that personal collections are utilized as tools by creative users.  The empirical data consisted of five qualitative, semi-structured interviews with Swedish and Norwegian sound Artists. The constant comparative method was used for analysis, and Activity Theory was used as a theore- tical framework for the study. The study concluded that Artists? personal collections, while diverse in content and structure, serve the same functions as tools in creative processes, and that attention to the uses of personal collections highlight needs that could be better met by integrated PIM-functionality.

Hip-hop music has long been an expressive medium used by individuals from marginalized areas in Sweden to address social issues and shape their identities. Through interviews with Swedish hip-hop Artists and analysis of lyrics, this bachelor thesis explores the self-expression of the Artists and how they express their views of society. It focuses on how social problems are expressed and understood, as well as on how the Artists view the depiction of contemporary Swedish hip-hop music in media. Additionally, the study investigates how hip-hop Artists themselves perceive the significance of their music lyrics. Furthermore, I explore the impact of music on the identity of hip-hop Artists from marginalized areas, as perceived by the Artists themselves. To gain a comprehensive understanding, the ethnographic study employs semi-structured interviews and participant observation with four non-ethnically Swedish hiphop Artists who live or have grown up in disadvantaged areas in Sweden.

This essay brings up how experienced texture Artists in game development can get comfortable in their workflow and therefore not spend time on learning new techniques that in the end could be more efficient. We base this on theories that people often choose the path of least resistance, which in the case of an experienced texture artist would be the path they have learned and are comfortable with. We also talk about the popularity of Photoshop and that many of today?s texture Artists in the game industry are using it and that this could be because Photoshop was one of the first programs that could be used well for texturing. Because of this many learned to use it and stuck by it and then taught Photoshop to new texture Artists because that is the program that they know.

I denna uppsats undersöker jag hur musikproducenter ser på sitt samarbete med musiker/artister under en musikproduktion. Metoden för undersökningen är en kvalitativ intervjustudie där tre etablerade svenska musikproducenter intervjuas. Resultaten visar att musikproducenterna lägger stor vikt vid sitt samarbete med artister. Några utav slutsatserna är att musikproducentyrket idag i Sverige handlar mycket om att kunna fatta beslut och agera som en musikalisk vägledare.A recording session - A study about music producers' way to look at their cooperation with Artists during recording sessions. In this paper I will investigate how music producers look at their work with musicians/Artists during a recording session.

The purpose of this thesis is to examine the political ambitions regarding culture inVärmland, and the situation for Artists living on the countryside in Värmland. This meansthat the conditions surronding the Artists situation will be looked upon. I have chosen thepolitical document Kulturplanen, created by Region Värmland, as my guideline to whatkind of political view there is on art and cultures role in the region. Furthermore, I havechosen Pierre Bourdieu`s theory about art as a field controlled by and under the influenceof different rules within the filed itself and what or whom has the power to act and be apart of the filed. I also use interviews as my method for this study.

The aim of this thesis is to study the Swedish art field during the 1980s, from the perspective of the artistic production of Lars Nilsson. During this decade he became one of the most well known young Artists associated with postmodernism.The thesis is divided into three parts, where the first part examines different influences and aspects of the art of Lars Nilsson, as well as the contexts he was a part of. This is performed through a chronological as well as a categorizing presentation, based upon different exhibitions where Nilsson participated during the 1980s.In the second part the subject is the Swedish art field, and how Lars Nilsson came to be part of a a new established category of a young generation of Artists, mostly born in the 1950s, who were associated with youth, postmodernism and contemporaneousness. This part also puts attention to the importance of Lars Nittve, then art critic and curator, in introducing postmodernism, as well as establishing this new categorization of Artists in Sweden.The last part of the thesis studies four different group exhibitions, and how they all exemplify how "a younger generation of Artists" were to be connected with notions of postmodernism and contemporaneousness through curatorial practice. Lars Nilsson participated at the thirst three of these exhibitions.