Abstract The writer of this paper centers on the fields of Far East and Near East art also known as Orientalist art. This paper presents figures and facts pertaining to the genre of Orientalist art from the auction houses of Christie' and Sotheby's as well as others. This well-researched paper discusses the general status of the art industry, while also delving into current trends. This paper examines how the 9/11 terror attacks caused sales and prices in the art industry to drastically fall around the world. This paper discusses the published reports that claim that even prior to 9/11 the art market was showing signs of slowing down. This paper contains published statistics and data pertinent to the art market in general while also presenting 6 illustrated charts and graphs relevant to this particular topic.
Table of Contents:
Introduction
General Art Market Analysis
Orientalist Art Market Analysis
Conclusion
References
From the Paper "Luckily, the art market was able to rebound quite quickly, despite challenges in other sectors. "After the tragedy of September 11th, the art market has consistently trumped the performance of sluggish equities markets" ("Art investment", 2003). For this reason, the art market, in general, has seen a resurgence, despite the downturn attributed to September 11th. However, not all is smooth sailing for the industry. This was evidenced just prior to perhaps one of the largest events in the art market history was the sale of artwork collected by the late Malcolm Forbes. Forbes was an obsessive collector. From Faberge eggs to Orientalist paintings, Forbes collection grew for more than three decades. 361 pieces of art, from this lifetime of collecting went under the hammer at Christie's in London, in 2003."
Abstract This paper discusses how the human body has always been a constant subject in art and in particular western art from the ancient times. This essay examines the various ways in which the body was represented in art from ancient to modern times. Many great pieces of art have had the nude as their theme, or at least contained nudes. The nude is often the subject of art but can also be considered an art form. The paper also looks at the nude as a subject of art and how notions of gender differences, desire and identity reflected on the female nudity in art.
Abstract This paper analyzes Martin Heidegger's definition of art. The author claims that the origin of art is created from some form of activity on the part of the artist, whether it be creating a painting, song, sculpture or poetry. This paper focuses on Van Gogh's painting "A Pair of Shoes" and describes Heidegger's view of this particular work of art as well as his perception of the artist. The writer of this paper questions whether the artist creates the art or if art in fact creates the artist. This paper also discusses the significance of technology and nature in any work of art while describing Heidegger's definition of the 'thing' needed when creating art.
From the Paper "After mentioning the artist, Heidegger begins to question what the artist is. We must question then if the work is what makes the artist, or is it the artist that makes the work. He tells us that the artist is the source of the work, and the work is the source of the artist. Both the work and the artist depend on each other, and one of them cannot exist without the other. Both the artist and work are related to a thing that comes before each, and that is what Heidegger calls art. If artist and work are both dependent on each other to be the source of the other, so do to both depend on art as their source. Heidegger asks if art can be a source of a work of an artist. Heidegger then claims that art is nothing more than a collective noun that signifies nothing now."
Tags:art, book, literature, van, gogh, painting, poetry, technology, review, perception
Abstract This essay gives the historical and social background of modern art, explains the general ways that modernist work can be seen as uniquely different from art that came before, and looks at two specific examples of modern art's radically different approach. It clearly defines modern art and explains the foundations and philosophy behind art of the past hundred and fifty years.
From the Paper "When defining and discussing modern art, it is first important to clarify exactly what the term means. Modern art refers primarily to painting, sculpture, and architecture created since the blossoming of technology and modern society. In broader historical thinking, the word modern refers to that time after the Renaissance and the Age of Discovery, however, the modern art movement is generally agreed to have been between the 1860s and 1970s. Like many discussions about art history, these dates are subjective. Painting, sculpture, and architecture from this period of history are called "modern" or ?modernist.? For many art historians, modern art began with the work of Edward Manet. Manet was one of the first impressionists and modern artists, those who reacted to the very formal and rigid style of painting done inside studios and set by traditional institutions in the nineteenth century. Modernism ended with the start of what many refer to as "post-modernism" in the 1960s and 1970s. This essay will give the historical and social background of modern art, explain the general ways that modernist work can be seen as uniquely different from art that came before, and look at two specific examples of modern art's radically different approach to painting. When compared to Renaissance and other western "traditional art" up to the late nineteenth century, it will be seen that modernism was a totally new paradigm for art."
Abstract This paper explains that Barbara Kruger and the Guerrilla Girls have taken traditional methods of art application and placed them within the normative modes of advertising methods. The author points out that inter-disciplinary arts, which are more than just an art technique, has become a public forum for feminist issues. The paper relates that, by opening the doors to the way that art is perceived, both Kruger and the Guerrilla Girls have taken art out of the traditional confines of museums and art houses and into modern media formats.
From the Paper "This art analysis presents an inter-disciplinary study of the art and advertising methods of Barbara Kruger and the Guerrilla Girls. By taking various examples of advertising billboards, magazine ads and other forms of art used within the modern media, an inter-disciplinary mode of art is created through the work of these artists. Through the study of the work of both Barbara Kruger and the Guerrilla Girls, one can realize the feminism and cultural impact of mixed mediums within modern inter-disciplinary art."
Abstract The paper examines the reasons Ortega y Gasset provides to explain his belief that traditional art is true art and modern art is just a work of art. The paper argues against Ortega y Gasset's assertions with the belief that his opinions do not take into account the natural progression of the art form.
From the Paper "Jose Ortega y Gasset describes what he observes as the "emergence of a new artistic sensibility"(87) in his 1925 essay, "The Dehumanization of Art." His observations in light of "avant-garde" literature, art and theater are compared to his subjective thoughts on the traditional forms of art in poetry, theater and visual art. He argues that traditional art is the "true art" form; whereas, modern art is just art for the sake of art. I disagree with Ortega y Gasset's argument because it is now 2006 and his opinions, although respected, do not take into account the natural progression of the art form."
Abstract This paper investigates the activities of various groups that bring crafts, writing, drama, dance, fine arts, and music to prisons. One of the groups mentioned is "The Prison Creative Arts Project" from the University of Michigan, which holds exhibitions for prisoners? art, which they even sell. Another is the "Geese Theatre Company", a team of specialized theater practitioners, taking drama to prisons and probation services centers. The National Endowment for the Arts? program for juvenile offenders is also brought up. The paper explains how these programs constitute ?art-therapy? and how they benefit prisoners, both in prison and once they are released. It also looks at the school arena, recommending programs like these for the prevention of juvenile offences. The paper includes a glance at the costs of these programs and at the opinions of opponents to the programs.
From the Paper "Other people have had that question too, and it seems they have done something about it. They organize different groups, and take the arts"crafts, writing, drama, dance, fine arts, and music"to the prisons, hoping to make some sort of difference in the prisoners? lives. One of these groups, the Prison Creative Arts Project, from the University of Michigan, does just that. They hold exhibitions for prisoners? art, which they even sell. The prisoners just love this, because it is a chance to "prove" themselves, and to let people actually see who they are."
Abstract This paper discusses contemporary Christian art. The paper looks at how the variation in works of Christian art corresponds to the variation in Christian faith. It explains that some Christian art reflects a traditional Catholic perspective and draws on centuries of traditions of Catholic art, while other Christian art reflects the doctrinal practices and emphases of a range of sects, from Quakerism to Pentecostal.
From the Paper "Contemporary Christian art is much like contemporary Christianity in general. There is as much variation in works of Christian art as there is variation in Christian faith. Some Christian art reflects a traditional Catholic perspective and draws on centuries of traditions of Catholic art. Other Christian art reflects the doctrinal practices and emphases of a range of sects from Quakerism to Pentecostal. And much of what artists might call Christian art because it reflects their own beliefs as Christians might not generally be classified as Christian art by..."
Abstract This paper presents a classical argument that the current policy towards arts education is harming the arts discipline. Specifically, this paper argues that by stressing the usefulness of an arts education, policy makers and educators who are trying to get more funding are actually marginalizing and undermining the arts by making the arts into a supportive skill set rather than a discipline in its own right.
From the Paper "In today's education system, the arts are often either minimized as unimportant or are translated into a "useful" discipline on par with the sciences in order to justify continued spending on arts courses. This places educators in a difficult position. Either they must make claims that the arts are utilitarian or risk facing program cutbacks or even shut-downs of arts programs. Although policy makers and educators can gain funding in the short term by depicting arts education as practical and useful, and although there can be little doubt that the arts do have useful applications, this approach tends to marginalize and harm arts education in the long run by making the arts into an auxiliary solution rather than a valuable discipline in its own right."
Abstract This paper explores the work of Jackson Pollock, with an emphasis on his innovative style and its continued impact on contemporary art. The paper examines the world of art that came before Pollock during the middle years of the 20th century. Historical events, such as World War II, and their influence on art and thought are also discussed. The paper then describes the techniques Pollock used in applying paint to a canvass. Two of Pollocks works are highlighted and described. The first is entitled "Lucifer," and the other is "Blue Poles, Number 11," which is considered to stand out above all his others. The author concludes that Pollock's art has the uncanny ability to find order out of disorder.
From the Paper "In order to understand and appreciate the world of Jackson Pollock and his amazing art, we must first explore the world of art that came before him during the middle years of the 20th century. Following the end of World War II in 1945 and the beginning of the "Atomic Age," there persisted a haunting dread among many Americans that life "had no meaning or value" which influenced a number of highly-successful artists to protest in paint against what they saw as a mechanized culture that did not tolerate individualism and non-conformity. At this time, a new artistic style emerged known as Expressionism which was harsher, more defiant and rebellious than any of its predecessors and "insisted on an even more radical abstraction from the world of reality." "
Tags: Jackson, Pollock, abstract, expressionism, modern, art, American, art
Abstract The author of this paper discusses contemporary art in the light of a course taken in college. The writer of the paper states that contemporary art is art that is uniquely self-conscious of its time, that it is art that does not aspire to be universal or to offer abstract ideals about truth, but instead speaks about a particular aesthetic or moment in time. In an attempt to prove the validity of his statement, the author examines the works of a number of contemporary artists.
From the Paper "Likewise, Barbara Kruger's feminist use of collages, one of which proclaims to the viewer that 'your body is a battlefield' takes photographic images and superimposes ironic labels on top of those images in a way that demands the viewer question his or her assumptions about gender. Work like Kruger's shows how new ways of creating art, namely film, photography, and video, began to flourish at the same time as contemporary art, and many contemporary artists have used new technology to further question what is art, and the ways that art can be created. It can be striking to see what is assumed to be 'real,' namely a photograph, deconstructed and reconstructed, as it is in some of David Hockney's works. This can be, to some extent, even more startling than some of Warhol's deconstruction of advertising and celebrity, although Warhol also embraced film towards the end of his career as part of his artistic project."
Abstract This paper looks at the effect that the printing press had in the spread of art and culture through the eyes of Walter Benjamin in Samuel Weber's essay, "Art, Aura and the Work of Walter Benjamin." Whereas Benjamin felt that mass reproduction was bad for the art world, he argues that the invention of the printing press allowed books to be read all over the world thereby changing the uniqueness of each painting. This paper also takes a look at the Mona Lisa, and explains that the ability to reproduce it is a positive thing, that, even though it's "aura," is no longer unique, many more people are now able to experience art.
From the Paper "With the invention of the printing press, however, books could be manufactured quickly and cheaply, and were available to great number of people. Two people living hundreds of miles apart could read the same book and find the same words, the same illustrations on the same page. However, the printing press also took something away from books - the originality and artistry that the monks had poured into each unique volume. Walter Benjamin would say that the aura of the monks' volumes was withering away, while the aura of the mass reproduced books was flourishing."
Abstract This paper shows how art is an important part of education that is dying in many public schools. The writer examines how budget cuts often shift priorities to basic subjects leaving children without a formal art education. The paper states that art is a valuable tool that teaches children to communicate and also augments the learning process in subjects such as mathematics and language. Many studies have found that when children are exposed to art, it has valuable effects on their learning process.
From the Paper "When implemented in public schools, art helps raise self-confidence while creating problem solving skills and communication. Unlike math and reading, when children create art they are always successful because there is no right or wrong in art. This gives a child a sense of achievement and success, raising their academic self-confidence. Art also helps children figure out how they want to express themselves, thus building problem-solving skills. Art focuses on making your internal thoughts external images or sounds creating a superior way for children to learn to communicate effectively. When you take all of these factors and apply them to a child's education the result is obvious. Studies show that the cognitive skills and spatial reasoning that art offers are essential for math. The communication of art often helps children become more successful in language classes. When a student becomes involved in an art program, the drop out rate dramatically decreases. Art is an exciting and fun way for students to feel more successful in school."
Abstract This paper explains that American Impressionist Mary Cassatt began using a Japanese motif in works such as "The Fitting", one of a series of ten color prints, which are considered among the landmarks of Japonisme. The author points out that, while most American architects in the early 1900s looked to European architects for ideas, Frank Lloyd Wright found Japanese design and art more inspiring. The paper concludes that now, in the 21st century, Japanese creativity has taken a new approach based on electronic and computerized technology advances combined with art, called animation, or anime in the Japanese language, which is an art form eagerly consumed by the market.
From the Paper "Van Gogh wrote his sister how Buddhism was also impacting his life. He even shaved his head to look more like Japanese. He deeply studied the works ?not to simply comprehend Japan art by copying it, but to dig down to the very roots of Japanese culture to be able to generate original creative impulses of his own from the encounter.? American artist Frank Benson painted Impressionist images of table settings that mingled Japanese, Chinese, and American objects. Benson also applied Japanese technical considerations to his paintings. This interest is especially evident in a group of black-watercolor washes that suggest the swiftness and economy of Japanese ink painting."
Abstract This paper explains that art in pre-War and post-War European Axis countries, in particular Germany, was diametrically different. These differences were largely a result of societal conditions. The paper also explains that pre-War art primarily took the form of propaganda and craft but that after the war, with the exception of Russian art, the art of the Axis countries changed as a result of the influence exerted over them by the west and their own desire to rejoin the brotherhood of nations.
From the Paper "The figures in the art, whether supposedly gallery art or poster-propaganda art, were supposed to be admirable 'native' figures of whichever nation was producing the art. The style was supposed to relate, also, to previous artworks, although, "In Soviet Russia, however, the whole notion of the 'aesthetic' was rejected as a bourgeois anachronism and was gradually replaced by the evolving theoretical criteria of Socialist Realism." Images of these works come readily to the mind's eye; almost cartoon like, oversized, over muscled figures in plain clothing operating large machines, for instance. "Triumphant was the Holy Trinity of peasant, worker and warrior. And from the very summit of this blasphemous altarpiece shone down the spirit from which all power was derived: the quasi-divine presence of the Leader himself" (Elliott, 1995), at least in Germany."
