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Art is not only a form of self-expression, but it is self-knowledge and
self-acceptance. From this position, the Creator Man's image in art represents research optics in which the transformations occurring in human existence become visible. These transformations are connected by a person's experience of the meaning and values of his own existence in their relationship with the world. Understanding art as an existential experience, and therefore understanding the image of the Creator Man as artistic existence, opens up the possibility of understanding the «human code» contained in artistic creativity.
The Creator Man's image is one of the main projects of art, which has gone through many stages during its implementation. The article consistently examines different historical periods of artistic creativity. Their analysis shows the gradual growth of the individual principle of the artist, which had its own version of the «counterweight» in different eras. On this basis, the author of the study puts forward a hypothesis: when a human artist first realized his exceptional creative capabilities in understanding and transforming reality, his individualized position of a creator (a thesis) always had its antithesis. At the same time, the thesis, which is a constant first established by Renaissance culture, could be modified depending on the dominant social, cultural and artistic meanings and values in a given era, but it never disappeared from art. While different antitheses dominated in different historical periods. The author examines various manifestations of this contradiction using the examples of baroque art, classicism, romanticism, realism and modernism. This allows us to fix the reference points in the development of the Creator Man's image.
Analysis of historical transformations of the Creator Man's individualization in art makes it possible to trace the changes that took place in artistic consciousness, reflecting the image of the world with the anthropos operating in it.

This paper explores how the komiks creator and the filmmaker became the "other" literary artists in the 1950s through the komiks penned during the era and the film adaptations that were drawn from said materials. This paper trains its focus on the deployment of the fantasy genre and the folkloric elements in both the source text and the target text. A great number of the elements from the fantasy genre have been appropriated from foreign models while the folkloric elements were scooped from earlier folk narratives in the Philippines. From komiks, the stories underwent another process of generic mediation through the cinematic adaptation of the pre-existing texts. This process of sourcing fantasy and folklore from komiks to film will be exemplified through sample extant texts such as Tulisang Pugot (1953) and Tucydides (1954), both the Liwayway komiks series and the films by Sampaguita Pictures, Inc. and LVN Pictures, Inc. respectively. The central aim of the paper is to project the role of komiks creator and the filmmaker in representing the "national-popular" life in the 1950s, namely: (1) as "appropriator" of foreign impulses; (2) as "localizer" of borrowed/imported materials; and (3) as "indigenizer" of stories by melding the foreign and the folkloric. The paper will then examine the participation of the visual artists—once obscured and traditionally dismissed as marginal—in reconstituting popular literary consciousness in their time and unofficially doubling as public "intellectuals" of their generation.

It is only during the last twenty years that contemporary art has found actors in Burkina Faso. Thomas Sankara's revolutionary regime was the first to offer artists a frame to promote and perfect their technique. During the 1980s, the Semaine National de la Culture (National Week of Culture), the Pan-African Film Festival of Ouagadougou (Fespaco), and the Salon International de l'Artisanat de Ouagadougou (Ouagadougou International Handicraft Show) were the only major projects that allowed artists to learn new techniques and to be known. However, because Thomas Sankara's government expected the creators to participate in the revolutionary project, this left them little space for innovation and the expression of their artistic freedom. The early 1990s saw the rise of new events, which at last offered artists a space to practice their art, based on personal inspiration and competence in artistic technique. The Laongo symposium of granite sculpture, PIAMET (an event started by two well-known Burkinabè artists), and Ouaga'Art (organised by the French Cultural Centre of Ouagadougou) thus offered young artists the possibility of discovering the techniques of their colleagues from Africa and elsewhere in the world. However, except the Olorun Foundation, there is no permanent space dedicated to training and artistic exhibition. This lack is a source of obvious problems for the creator who, as a result, may find himself entrenched in a circuit where commercialism seems to dominate artistic research.

Esta investigación presenta un estado del arte sobre las prácticas de creación artística en seis municipios del Urabá antioqueño. Preguntarse por la invisibilidad del artista creador en el contexto de esta zona obliga a revisar; de soslayo; pormenores sociohistóricos de una subregión estratégica en la geografía colombiana cuyas dinámicas económicas; etnográficas y culturales actuales han emergido de la lucha constante en y por un territorio vasto y provisto de grandes riquezas naturales. Con aproximadamente el 50% de población afrodescendiente; el 15% de población indígena y el 35% de población mestiza; la subregión ha forjado un interesante panorama pluricultural privilegiado en expresiones artísticas que se nutren de un sinnúmero de tradiciones y costumbres propias de los grupos humanos que allí convergen, expresiones y prácticas de las cuales muchos de sus creadores no están aún identificados; reconocidos o visibilizados; asunto de competencia de las políticas públicas culturales del Estado colombiano. ; In order to understand the subject of the creator artist s invisibility in the Colombian context of the region of Urabá; Antioquia; it is a must to examine obliquely the social and historic particulars of a sub region located strategically with economic; ethnographic and cultural dynamics; which have emerged from the ongoing fight for a vast and ecologically abundant territory. With approximately a 50% of African descent population; a 15% of indigenous population an 35% of mestizos ; the sub region has created an interesting intercultural view; privileged to have artistic expressions for which its creators are not particularly visualized through the public politics that concern the State of Colombian.

This article contributes to research on the changing music industries by identifying three dynamics that underpin the shift towards a post-record music industry. First, it examines how musicians have found themselves redefined as content providers rather than creative producers; a historical change from recorded music as product to content. Second, it focuses on tensions between YouTube and recording artists as symptomatic of disputes about the changing artistic and economic value of recorded music. Third, it extends this debate about the market and moral worth of music by exploring how digital recordings have acquired value as data, rather than as a commercial form of artistic expression. The article explores how digital conglomerates have become ever-more significant in shaping the circulation of recordings and profiting from the work of musicians, and highlights emergent dynamics, structures and patterns of conflict shaping the recording sector specifically, and music industries more generally.

Purpose: Communism, being one of the most repressive systems, influences the whole spec-trum of behaviors of individuals, groups, and society. Countries that changed their politi-cal system start a journey of external (economic, social) and internal (personal, interper-sonal, group) changes. The post-communist burden determines human behavior, and man-agers and leaders should pay attention to these consequences. The research deals with the perception of creative identities (a creator, artist, manager, entrepreneur, and leader) by the society of post-communist countries compared to countries without communist history. Design/methodology/approach: Quantitive research (n = 160) among people from a dozen nations; chi-square test of independence used; qualitative analysis of feature differences. Findings: There are no statistical differences in the perception of the creative identities of a creator, artist, manager, entrepreneur, and leader between citizens of post-communist and non-communist countries. Practical implications: The study in perception of the particular creative identities might have practical implications for managers and leaders of groups, and business organiza-tions dominated or not by creative individuals. These differences are shown in detail, and links between this research results and the literature are built. Originality value: The originality of the research lies in the conclusion that societies that finished their intercourse with communism more than one generation ago (ca. 30 years) should be perceived similarly to non-communist societies. Perception of the creative indi-viduals' social capital by these societies does not show essential discrepancies. ; peer-reviewed

This essay explores Kerry James Marshall's paintings of black artists in studio settings who are often positioned at the easel with an unfinished self-portrait. The series begins with a portrait within a portrait of a historical figure—Scipio Moorehead, Portrait of Himself, 1776 (2007)—and then turns to fictional artists (2008–10). Just when the series appears to have reached an end point, Marshall surprises with his most expansive studio scene to date—Untitled (Studio)—in 2014. In no instance does Marshall portray himself as the artist inside the painting, yet we can never forget that he is the creator of the artists we see within the paintings.

The purpose of the article is to reveal the communicative potential of the master's biography, to prove its influence on the cultural dialogue between humanity and the achievements of the artist. The research methodology is to apply a number of approaches: analytical – to comprehend the literature on the topic of the article; interdisciplinary - for a comprehensive study of factual material and in obtaining new knowledge; systemic using a whole range of methods (biographical, semiotic, culturological, hermeneutic, historical, theoretical generalization) – comprehending the stated quest, etc. Scientific novelty – for the first time in the national humanities, biography is explained as the way of civilizational contact between the creator and the public, the translator of the most important meanings of the era. Conclusions. The publication states that the artist's biography is an important component of the communicative space of nowadays. It embodies the anthropological dimensions of history, the worldview of the day through the coverage of the hero's life, his significant achievements. The author of the chronicles builds the life strategy of the master in such a way that he becomes clear to the recipients of any period. An analysis of the chronicle reveals the richness of symbolic forms of cultural contact associated with works of art, epoch-making features and social circumstances, and so on. In unity, they affect the perception of the artist's image. This process is carried out by the public as a result of decoding spiritual information in accordance with existing norms, traditions of a particular time, awareness of the existential and creative experience of the character. Biography as a means of communication demonstrates freedom from ideological, social limitations, as it allows communication of individuals of different eras, removes territorial, speech, social, and others barriers. Due to their ability to embody the universal concepts of civilization, the chronicles express not only the story of the artist, but also allow the modern recipient to express himself. Thus the listener (viewer) through the biography is in contact with the master, his time, humanity.
Keywords: biography, cultural communication, artist, audience.

Cover -- Title Page -- Copyright -- Contents -- Introduction -- CHAPTER 1 -- 10 Years Wiser, Jay-Z Offers His Reflections of a Hustler -- The Anxiety of Being Influential -- Jay-Z Deconstructs Himself -- With Arena, Rapper Rewrites Celebrity Investors' Playbook -- The House That Hova Built -- Jay-Z Is Rhyming Picasso and Rothko -- Jay Z and Beyoncé: Activism Gone Vocal -- Jay-Z Revels in the Catharsis of Confession on '4:44' -- Jay-Z and the Politics of Rapping in Middle Age -- CHAPTER 2 -- Nicki Minaj's 'The Pinkprint' -- Nicki Minaj: Black Women' Rarely Rewarded' for Pop Culture Contributions -- Nicki Minaj and Meek Mill, Twitter's Ethics Police -- Nicki Minaj Raps Life Lessons at Barclays Center -- The Passion of Nicki Minaj -- Nicki Minaj Concert in Angola Draws Human Rights Complaint -- Nicki Minaj, Always in Control -- CHAPTER 3 -- Kendrick Lamar, Emboldened, but Burdened, by Success -- Kendrick Lamar, Hip-Hop's Newest Old-School Star -- Notes on the Hip-Hop Messiah -- Kendrick Lamar, Rapper Who Inspired a Teacher, Visits a High School That Embraces His Work -- The Blacker the Berry -- Kendrick Lamar's Anxiety Leads to Joy and Jabs on New Album -- Kendrick Lamar, Rap's Skeptical Superstar, Avoids Arena Spectacle -- Kendrick Lamar Gives 'Black Panther' a Weighty Soundtrack -- Kendrick Lamar Shakes Up the Pulitzer Game: Let's Discuss -- CHAPTER 4 -- The New Face of Hip-Hop -- Drake: Rapper, Actor, Meme -- On 'Views,' Drake Is Still His Own Genre -- On Drake's 'More Life,' the Creator Meets the Curator -- Drake's 'Scorpion' Is a Streaming Giant -- CHAPTER 5 -- An Afternoon With Cardi B as She Makes Money Moves -- How Cardi B's 'Bodak Yellow' Took Over the Summer -- Cardi B Wins New York Fashion Week -- Cardi B Is a New Rap Celebrity Loyal to Rap's Old Rules on 'Invasion of Privacy' -- Cardi B Becomes the Fifth Female Rapper With a No. 1 Album.

The essays in this collection explore the many ways in which women writers have seen and dreamed the woman artist as a character in their works. In describing this character, her struggles and her visions, we as feminist critics run the risk of prescribing her, and yet failing to name her means failing to know her. We confront this difficulty not by defining the woman artist figure but by identifying many. Recognizing as Teresa De Lauretis has suggested that the social construction of gender is "a common denominator" among women, we examine the different representations of the woman artist figure as gender is mediated by race, class, nationality, ethnicity, motherhood, sexual orientation, and historical era as well as literary movements and theories of language. Although a concern with so many positions may seem to suggest a paradoxical passive creator determined by external elements along, Linda Alcoff argues that "the concept of positionality includes two points: first.that the concept of woman is a relational term identifiable only within a (constantly moving context; but, second, that the position that women find themselves in can be actively utilized (rather than transcended) as a location for the constructions of meaning." The title of the collection, Writing the Woman Artist, suggests both the social construction of women artists an their own imaginative construction of the artist figure; it registers the tension between the fictional and the empirical figure, the problematic relationship between language and reality. ; https://scholarship.richmond.edu/bookshelf/1039/thumbnail.jpg

The key to the considerations contained in this work is the authors' metaphor of the organization:
"organization as an artwork", which – based on the achievements of aesthetics – allows us to look at the manager as
a creator (true "artist"), and on organization's stakeholders as recipients of this artwork. This new approach places
management on a skeleton of Maria Gołaszewska's concept of "aesthetic situation". Thanks to this approach, the elements
of aesthetic theories appearing in the management literature take the right context, and solutions borrowed from the
theory of aesthetics bring a new quality to the theory of creativity in management. The inspiration to take up the
topic was one of the authors own experience in both art and management. The research methodology is based on a
qualitative review of the literature. The methodological approach is based on interdisciplinary and multi-paradigm
approach taking into account the publications from areas of management and organization, as well as art and psychology.
After applying the theory of aesthetics to the management process, it can be said that artistry should be considered
as a kind of higher level of management; highest degree in gradation: administrator, manager, management artist.

Tyler, The Creator (Tyler Gregory Okonma), is a Grammy-awarded African American rapper, music producer and entrepreneur who has been vigorously challenging tropes of black American masculinity; mainly through his internet savvy and smart use of audio-visual digital platforms such as YouTube. From chattel slavery to blackface minstrelsy, the African diasporic experience in the West is marked by a series of stigmas, contradictions and dichotomies evidenced in the challenge of being black in a white world. This duplicity denounced by seminal scholars such as W.E.B. DuBois and Frantz Fanon informs the theoretical framework of this article but also reflects most of Tyler's investments in subverting American whiteness and blackness in his audio-visual performances. Not by chance, identity is central in our current digital era and so it is prominent in web culture which is marked by the constant exposition of one's persona and its ephemerality in the vast ocean of data. Tyler, as one of the first YouTube music phenomena, knew how to expose and at the same time rework his own contradictions as an African American artist by constantly juxtaposing, shifting and remodeling his own discourses and persona in the digital environment. In this article, I discuss his strategies by inquiring into why his early shock-value ethos and persistent racial play are relevant to connect with fans and expose his artistic productions in our current postmodern times.

Abstract

Objective: Post-communist countries, affected by decades of one of the most repressive political systems, are perceived as a particular area of gaps in social capital. These gaps influence the whole spectrum of behaviors of individuals, groups, and society. Countries that changed their political system start a journey of external (economic, social) and internal (personal, interpersonal, group) changes. The post-communist burden determines human behavior, so leaders and managers should pay attention to these consequences. The research deals with the differences in perception of creative identities (a creator, artist, manager, entrepreneur, and leader) by Polish society compared to other countries without communist history.

Methodology: Quantitative research (n = 160) in the form of a survey among people from Poland and other countries. Verification of hypotheses by chisquare test of independence used (SPSS, MS Excel). Next, a qualitative analysis of discrepancies was undertaken (NVivo).

Findings: There are no statistical differences in the perception of creative identities of a creator, artist, manager, entrepreneur, and leader between citizens of Poland and citizens of other countries. The additional qualitative analysis exposed that differences in perception of the creative identities between investigated societies might have necessary consequences while managing or leading groups (and organizations) dominated by creative individuals. These differences are shown in detail, and links between our research results and the literature are built.

Value Added: It looks like a post-communist burden in current Poland has a minimal impact on the perception of creative individuals. Thus, it can be said that communism disappears from the social capital during one generation (ca. 30 years).

Recommendations: Further research exploring the perception of creative identities by different analogical groups of compared societies would be valuable.