By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.
In the interview with Dean Keith Simonton, one of most prolific creativity researchers, we discuss his career, main areas of research interest, chosen research methods and share his thoughts about the future of research on creativity and effectiveness in scientific work.
The author responds to Kaufman’s (2018) target essay from a unique perspective – research on creative genius. Although the author began studying little-c creativity, he switched to Big-C creativity when he did his doctoral dissertation, and continued that work for the rest of his career. One implication of such research is that the relevance of creative genius cannot be questioned, even if its benefits are sometimes ambiguous (however obviously consequential). Another implication is that creative geniuses do not require training in creativity, whatever usefulness such instruction may possess for everyday creativity.
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