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Labour force in the art sector is characterised by high qualification, but low income for those people who perform the core contribution in art, i.e. the artists. As artists are typically self-dependent in managing their business, they should have managerial skills besides those skills necessary to perform their artistic core activities. If the lack of managerial skills is a reason why artists fail to make a living from their talent, then this chain of cause and effect could be ruptured by adequate educational opportunities. This paper analyses the curricula of a wide range of institutions offering art education programmes and identifies their managerial learning content. In doing so, we focused on German-speaking countries, the so-called DACH region (i.e. Germany, Austria and Switzerland, whereas D, A and CH are country codes). We identified and analysed 159 course syllabi of 81 art universities, schools and academies. The results of our study indicate a lack of managerial learning contents: a vast majority of institutions follow a rather traditional approach to art education, focusing solely on artistic competences. We suggest the implementation of managerial learning contents to better prepare art students for successful careers in the arts.

Whilst the link between young people's well‐being and the creative arts is strengthening, there is a lack of research which focuses on the roles that artists play to help teachers and parents engage young people in the creative arts. This paper explores the benefits of and barriers to artists working in education in six European countries (England, Iceland, Germany, Greece, Italy and Austria). Using the '5A's model of creativity' and a view of professional development taking place within 'landscapes of practice', the data were analysed in order to explain how creativity is operationalised in the different contexts. Our study highlights the need for policy at a national and transnational level to value the creative arts in order to help teachers cross boundaries and utilise the full potential of the creative arts in schools. Our study also highlights that further research is needed into how artists shape teaching and curriculum and how schools engage parents in the creative arts in order to build an evidence‐base relating to young people's positive mental health that can affect policy at these levels. [ABSTRACT FROM AUTHOR]

Internationally, cultural policies are tending toward increased socioeconomic and legal support for creative artists. Austrian cultural policies which encourage art and cultural professional organizations, increased copyright protection, and greater social security for free-lance artists are discussed. (AM)

The article reviews the exhibition " Dušan Marek: Art/Film Post 1960" at the Sydney University Art Gallery in Australia in 2016.

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This essay explores the sociopolitical practice of the Austrian art group WochenKlausur. Since 1993, members of this collective have produced what they call 'concrete interventions'; using funds provided by various cultural institutions, they enact long-term, problem-solving measures in the surrounding communities. Mobilizing their status as an 'art' group, they are able to draw attention to otherwise overlooked social ills. Their practice foregrounds the critical issues that arise when art is paired with activism, including the crucial and much-contested differentiation between ethics and aesthetics. I ultimately find that this group's practical successes productively, if only locally, intervene in areas that have traditionally been the purview of democratic governments, while their works that fail in these terms serve as a mirror to governments' own failures to create and maintain programs of social betterment and to promote democratic inclusion. [ABSTRACT FROM AUTHOR]

Through an exploration of Egon Schiele's life and enigmatic “mannerisms”, which recall those of autistic children and schizophrenic patients, the author explores the impact his outstanding and disturbing paintings can have. The approach is biographical, revealing Schiele the artist as an already gifted though disturbed child. Some material refers to Schiele's way of expressing painful yet creative fantasies, in which different parts of his body (in particular his hands), projected into his paintings, form part of an intimate, creative, disturbed language. From childhood to his early death, Schiele used a coherent figurative language which was both realistic and oneiric; the author develops some ideas on art and psychoanalysis, particularly as to the creative process within a complex and disturbed personality. Working as he did between the psychotic and non-psychotic elements of his personality (Bion), Schiele is an appropriate artist for our time. His drama, his feelings of disintegration and “dismemberment” are nourished by the creative, sane parts of his personality. The true psychotic artist is not entirely psychotic, for creation requires aesthetic taste and harmony. [ABSTRACT FROM AUTHOR]

A biography of artist Egon Schiele is presented. He was born in 1890 and studied at the Vienna Academy of Fine Arts. He also served in the military. His portrait "Self-Portrait with Physalis" was made in 1912 which is displayed in Leopold Museum in Vienna, Austria. He used art to express his feelings when his wife Edith was dying of flu. He created around 3,000 works in his short span of life and died in 1918.