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Orientalist Art Market, 2005.
This paper analyzes the impact of the September 11th terror attacks on the art industry while focusing primarily on the genre of Orientalist art.
2,307 words (approx. 9.2 pages), 6 sources, MLA, $ 71.95
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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."
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, $ 47.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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Art Found: The Database as an Alternative Art Space for New Media, 2001.
A different perception for databases and their potential.
3,010 words (approx. 12.0 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper covers many complex ideas relating to the way that we view databases in our culture. It proposes that the database will be the canvas of the future for artistic and cultural exploration. This paper also includes many references from leading scholars in the field.
From the Paper
"Hail, hail to the menu driven computer interfaces that we have come to expect. These well made navigational systems of logical menus and clearly written labels, three button mice and ergonomic keyboards give us one of the most important technologies of our time the human computer interface (HCI). The HCI and the Graphical User interface (GUI) have been thought about and redefined as every new piece of computer hardware and software have been created. (The terms HCI and GUI will be used interchangeably as we are addressing the notion of interface.) The creation of the HCI has now mostly become the task of the new media artist. This becomes a very limiting constraint on the artist when the interface is the only element of a new media object that has any hope of becoming seen as a relevant area to create art. There are at least two other clearly definable media objects, the data and the database. I will focus here on the database. It is my contention is that a new media art piece can consist solely of a database without the need for the involvement of an interface. "
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Outsider Art, 2005.
This paper discusses the history and future of the term "outsider art", referring to art, made by self-taught artists, which stands outside the realm of "fine" art.
3,015 words (approx. 12.1 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper explains that "outsider art", also called naif, naive or art brut, is collected by the most well-known collectors; therefore, the question arises when something becomes popular or "in" does it continue to be "outside"? Can "outsider art" continue in the years to come? The author points out that, for example, after World War I, the cultured in Europe began developing an interest in self-taught creators called "naives", such as Henri Rousseau, who were creating their artistic works throughout Europe especially France. The paper presents many examples of "outsider art" in the U.S., including Mexican-American, jailhouse and street art, some of which has entered the realm of collectors and museums, while other artist prefer to remain "Outside Art".
Table of Contents
Introduction of Thesis Statement
Introduction of Terms Based on Dubuffet and Cardinal
Move from Europe to United States
Definition of Outsider
Examples: Slaves, Mentally Ill, Spiritual, Folk, Recycled
Response to Thesis Statement
Conclusion
From the Paper
""Outsider art" continues to evolve along with changes in society. A new form of work, for example, called "recycled folk art," transform pieces of trash into new treasures. In Mexican-American Texas communities, houses are adorned by objects, colors and symbols that reflect a history over the past to present days. Many of the visually rich barrio decorations are made from everyday castoffs such as Styrofoam cups, tires and tile chips. Brightly colored trucks and cars, tree swings, and televisions act as shrines to the Virgin of San Juan. Windmills and whirligigs are made from soda cans, butterflies from scrapped tin and muffler robots from used auto parts."
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Fifteenth Century Art of the Netherlandish Region, 2002.
This paper discusses the development of art in the Netherlandish region during the fifteenth century and the influence this art had on European art in the centuries to come.
3,111 words (approx. 12.4 pages), 6 sources, MLA, $ 90.95
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Abstract
This paper examines the art of the Netherlandish region during the fifteenth century and suggests that, contrary to common scholarly opinion, the art of this region was important not only from the perspective of how it related to contemporary art in Italy, but, in its own right, was possibly one of the most important moments in Western art history. Also examined are the inventions, innovations, and impact Netherlandish art had the development of European art.
From the Paper
"Nevertheless, the depiction of the world was an unusually strong preoccupation of the Netherlandish painters. Among those artists who worked in the early part of the century, the output of the Tournai painter Robert Campin (c. 1378-1444) and that of the Master of Fl?malle, is sometimes regarded as distinct and sometimes as the work of one individual."
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Art Education, 1996.
Criticizes lack of art instruction & examines alternative curricula, theories, methods & benefits from teaching visual art & art history.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
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From the Paper
"The decline in arts education in American schools is due largely to incomprehension regarding the role this branch of learning plays in the intellectual and educational development of children. Knowing and learning in art are different from these same activities in other areas. This idea is slowly penetrating the education field -- and as the idea of many different kinds of 'intelligences' takes root it becomes clear that they are served by different disciplines. But the problem is not limited to the general public. There is also a great deal of confusion, even among arts educators, over such basic questions as what is to be taught, who is to teach it, and whether children acquire skills from it that have broader relevance. Research in art education is slowly developing a new rationale for its existence on the basis of evolving ideas in developmental and educational..."
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The State of Arts Education in New Jersey, 2005.
A look at the situation of arts education in New Jersey following the No Child Left Behind Act.
16,584 words (approx. 66.3 pages), 13 sources, MLA, $ 249.95
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Abstract
This paper looks at the National Standards for Arts Education as a place to start in assessing any state's interest in and support of arts education. The paper explains that to assess New Jersey's positioning on the canvas of American arts education, the debate and its contributions were analyzed for the past decade; the findings were unequivocal that arts education has a place not only in humanities teaching, but also in creating an atmosphere in which all children can achieve. It explains that wealthier school districts are more likely to retain arts programs under pressure, although it is the disadvantaged districts that would most benefit. The entire issue is assessed in terms of the possibilities post-NCLB, and the current progress of the states in terms of adopting the National Standards for Arts Education are also discussed. The writer concludes that it appears that New Jersey has at least nominally found a niche among the states more dedicated to providing arts education. It remains to be seen whether that education will be of the 'media' sort, or the more substantive arts education that demands continued student/teacher involvement in pursuit of generalized goals contributive to developing an aesthetic sense and possibly some mastery in an arts area.
Chapter I: Statement of Problem
National Standards for Arts Education: History
The Standards Themselves
Budget Issues
Quantitative Information
Qualitative Findings
Chapter II: Literature Review
Merits of Fine Arts Education
Educational Reform and Arts Education
How to Conduct Arts Education
The Standards Themselves
References
Appendix A: New Jersey Standards for Arts Education
Appendix B: U.S. Hunger in the Year 2000
Appendix C: Jasmine's Story
List of Tables
Table 2.1: States requiring arts credits for high school graduation
Table 2.2: Mandatory Status of Arts Education by State
List of Figures
Figure 1.1: Reasons to Support Arts Education: New Jersey
Figure 1.2: Budgeted Funds for Arts Expenditures by Type of School
Figure 1.3: Budgeted Funds for Arts Expenditures by School Size
Figure 1.4: Budgeted Funds for Arts Expenditures by Region
From the Paper
"Four years ago, discussion concerning the place and presence of fine arts education in public schools would have been primarily a discussion of the need for the curricula in the first place and the financing of it. In the early 1990s, discussion of National Standards for arts education became prevalent in the professional media. Since the start of the Bush administration's No Child Left Behind initiatives, however, any public discussion of the present and future of arts programs in public schools is clouded by a new dominant educational debate; the new debate concerns whether NCLB signals the death-knell of learning in U.S. public schools, or is a way to raise up the academically disadvantaged. While this investigation does not attempt to find the definitive answer to that question, there is little doubt that the fact and progress of NCLB will have an impact, and arguably a negative one, on fine arts education generally. Whether it is having or has had a negative impact on fine and performing arts education in New Jersey is a proper question for the current research, however. It is probable that the answers to a statewide survey of fine arts faculty conducted for this investigation will help resolve it. Indeed, the question to be answered is how well New Jersey's Fine Arts Programs compare to National Standards, allowing for classification differences within the state."
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Art vs. Design, 1997.
An overview of the historical debate on the differences between arts and crafts, fine arts and applied arts, aesthetic requirements, and an example (19th Century French poster artist Jules Cheret).
1,125 words (approx. 4.5 pages), 4 sources, $ 39.95
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From the Paper
"The twentieth century's distinction between 'design' and 'art' derives from the sudden and overwhelming growth of technological innovation, and the commercial demand for applied design, during the Industrial Revolution of the nineteenth century. The primary distinction was between the so-called "high arts" of painting, sculpture and architecture, and "decorative or applied" design (Collins 17). This differentiation between art and design is sometimes perceived as an unfair elevation of art at the expense of design. Yet, so long as the distinction is based on such qualities as reproducibility, methods of production, or function, it is both valid and valuable. If, however, the differences between art and design are cited as criteria of aesthetic, or even moral, value, the distinction does not hold up, and is of little value to understanding either type ..."
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The Development of Art Throughout the World, 2006.
This paper reviews the history of various art forms in "Art in the Western World," written by David M. Robb and J. J. Garrisson.
1,020 words (approx. 4.1 pages), 2 sources, MLA, $ 36.95
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Abstract
This paper examines the development of western art forms from early architectural designs through sculptures of the Greeks and Romans, the European art of the Renaissance period and into the 20th century as written about in "Art in the Western World," by David M. Robb and J. J. Garrisson.
From the Paper
"Hendrick Willem Van Loon, traces the history of Art in The Arts. Van Loon follows the development of Art from the prehistoric period, the Minoan civilization, the Greeks and Romans, Gothic Art, Renaissance Art, Chinese and Japanese art into the Empire style of the early 1800's. He looks at art as a whole, discussing musicians as well as architects, sculptors and painters."
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The Influence of Japanese Art, 2004.
This paper discusses the influence on many aspects of Western art by Japanese art, called Japonisme, commencing from mid-19th century to today.
3,280 words (approx. 13.1 pages), 12 sources, MLA, $ 94.95
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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."
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Real Art, 2006.
A discussion of what defines art and other questions that are central to the philosophy art.
1,386 words (approx. 5.5 pages), 5 sources, MLA, $ 46.95
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Abstract
This paper examines questions relevant to the creative process and how art is created. The paper looks at how we define art, how we distinguish art from non-art and the place of art in an increasingly pedestrian society. The paper also attempts to explain how it is that society distinguishes art from among the images that are displayed to us through the newspapers, the television, and the internet and discusses whether digital video is as much art as film, or whether film can even be considered art. Finally, through an examination of the thoughts of three people who theorized about art, Walter Benjamin, Marshall McLuhan and Jean Baudrillard, the paper attempts to answer all of these questions.
From the Paper
"His reversal of judgment on the electronic age is never explained very well. Perhaps he became disillusioned with the fraud and the forgery that the Internet could lead to, or perhaps he felt that the electronic age would lead to even more isolation than did the invention of the printing press. Since it is unknown exactly why he changed his mind, it is impossible to say whether or not he agreed with in principle with Benjamin. What is known is that he died with the same contempt for the digital and mechanical reproduction as Benjamin had."
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The Great Depression and American Art in the 1930s, 2003.
A discussion of Depression Era Art and its impact on the art world.
969 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
By 1933 at the peak of the Depression, nearly 25% of all Americans were unemployed. Under the leadership of President Franklin D. Roosevelt, the country struggled to recover from the recession that became known as The Great Depression. The paper explains that as part of his New Deal program, President Roosevelt enacted many domestic policies and projects to try to rebuild America. Several particular endeavors were designed to keep painters, sculptors, and photographers employed. Because of these projects, artists created many works throughout the Depression. The paper shows that while artist reaction to the New Deal was varied, the works of art that were created expressed individual attitudes about the Depression and left a lasting mark on American art. The paper includes several reproductions of works of art from the era.
From the Paper
"As America sank deeper into the Depression, artists quickly found themselves unemployed. Consequently, they questioned the effectiveness of a capitalist society. In comparing the United States to the Soviet Union, many of the artists came to believe that maybe a socialist system was a better option. They joined many left-winged organizations like the Artists? Union with the common goal of obtaining state-sponsored art initiatives. The group published its own journal, Art Front, which proved to be quite influential. Letters were sent to Public Works officials asserting, ?the State can eliminate once and for all the unfortunate dependence of American artists upon the caprice of private patronage? (Pohl 365)."
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Primitivism in Modern Art, 2004.
Explores the influence that primitive art has had on modern art.
923 words (approx. 3.7 pages), 10 sources, MLA, $ 32.95
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Abstract
This paper describes how modern art appropriated images from so called "primitive" cultures and describes the social changes that prompted this attraction to primitive art forms. The paper also discusses some of Picasso's works and notes how these works were influenced by African culture and art.
From the Paper
"A central facet of modernist art was the questioning of and dissatisfaction with the traditional views of life and art, and the concomitant rejection of established standards in the search for the new and different. Social factors such as the First World War also lent impetus to this search for alternative views of reality that was expressed in modernist art. In their search for alternative styles and means of expression, artists were attracted to the unusual and exotic. African art was one of the areas that supplied images and artistic energy that inspired many artists of the time. Artists like Picasso and Gauguin found formal ideas and images in the so-called primitive societies that resonated with energy and a new artistic rhythm."
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