How can one become a successful artist? Where should one start a career in the art world? What are useful strategies to achieve recognition in the art system? Such questions hoard in students minds ever since entering art school and they probably chase every kind of art professional who is at an early career stage. ';The Road to Parnassus' tries to understand what makes a good start in todays art world, who are influential players in the field and which strategies might apply. The swift career ascension of Glasgow artist Douglas Gordon one of todays leading visual artists and of the broader YBA generation that rose into worldwide prominence in the 1990s Damien Hirst and Sarah Lucas among the best known serves as a convenient case to analyse contemporary artist strategies. This book takes a multidisciplinary approach spanning from traditional art history, to sociology and economics pursuing the reconstruction of the field of forces in art as intended by French sociologist Pierre Bourdieu. Compared to previous publications on art system dynamics, such as Thompsons ';The $12 Million Stuffed Shark', this book offers an enhanced understanding of the factors that allow a young artist to enter the arena of contemporary art. The present research should help uncover the art system logic which appears enigmatic to non-experts revealing that artists are aware they need to consider global trends, beat competitors and meet the demands of dealers, collectors, curators and museums. This book furthers existing contributions on the YBAs (for example Stallabrass ';High Art Lite'), offering innovative conclusions on recent British art, such as on the duality between London and Glasgow, the gender opposition among emerging artists and the predominance of resourceful authors.

Introduction Building a career in the visual artsChapter 1 Unveiling successful artist strategies1.1. Way upwards in the field of art: a career start in contemporary art1.2. From aspiring to established in Swinging Britain: timeframe and research scope1.3. A "vie raisonné" in recent art history: methods and sources for Douglas Gordon's kick-start1.4. Beginners strategies, step by step: uncovering early career moves in contemporary artChapter 2 A cultural producer in the art system2.1. Who is an artist: the artist and the art system2.2. What an artist: Douglas Gordon in the art system2.3. What does an artist do: players, key resources, strategies in the art systemChapter 3 Family, society, religion in the Scottish Sixties3.1. Working class, baby boomers, gender issues: of storytelling, family and education3.2. Myths, religion, media culture: of reputation, selfimage and early influencesChapter 4 Art education between Glasgow and London4.1. Going for art school in the Eighties: of ethnographers, public artists and education reforms4.2. A tale of two cities and their art schools: the 1980's art scene in London and Glasgow4.3. Training, but trying already: of environmental art, Freeze and early mischief4.4. Glasgow outpost in London, London spirit in Glasgow: Gordon in the Capital and the initiation of TransmissionChapter 5 Southern flames and Northern lights5.1. Life after art school: self-entrepreneurship and artistrun-spaces for the seminal period5.2. Early signs of breakthrough: of patrons and dealers, mentors and godfathers, prizes and media5.3. How to reach far: defining style and productionChapter 6 Going for more and more, at home and abroad6.1. All alone in the darkness: big solo smash in Glasgow6.2. Generational breakthrough: of young rascals and old hands6.3. Picking the upcoming wave: video and installation art rising6.4. British art sprawl and export: patronized touring, inland and abroadChapter 7 Exploiting each favourable opportunity7.1. Catching the high-speed train: celebrations for onehundred years of cinema7.2. A burst on the passing-lane: an unexpected overtaking?7.3. Finish line and a new start: the Turner Prize goes to Glasgow