Abstract This paper argues that government support for the arts can have a negative impact on artists, audiences and market sectors. It discusses the problem of the government considering artistic merit based on the artist's ideology. The author also mentions the role of the NationalEndowment for the Arts.
From the Paper "Should governments control public funding in order to shape the arts world addressing diverse audiences and determining not only what art events are offered but also who should attend. Opinion on this issue is divided ..."
Tags:Arts, Government support, NationalEndowment for the Arts
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 NationalEndowment 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 explains that National Socialism was under the control of Hitler. The author points out that the National Socialism ideology considered modern art to be useless; therefore, only a classical view or romantic conception was allowed. The paper relates that the main link between art and the ideology of National Socialism is found in the synchronization policy.
From the Paper "National Socialism focused on and enforced the link between Romantic ideals and a new vision for Germany. Nazi Germany, along with Italy and Russia, rejected avant-garde art and stipulated regulations for artistic expression. These countries "were driven by utopian ideals and shared a common lineage in the traditions of messianic socialism" (Elliott 14). National Socialism in Germany was obsessed with a singular vision of the future. Ideology toward that end was an ongoing synthesis to meet the needs of the new Reich, and art was made subservient to ideology in order to promote and express the same vision."
Examines controversies over the NEA funding of art called obscene by conservative groups, discussing economics, censorship issues, public views, legislation, quality of art and leadership.
2,025 words (approx. 8.1 pages), 4 sources, 1992, $ 71.95
From the Paper "The National Endowment for the Arts (NEA) has become a key funding source for all kinds of artistic endeavors across the country. For many it has been a savior at the taxpayers' expense; for others, an ill-conceived bureaucracy that should never have been created. However, it has survived and if Congress has its way it will continue to do so, but at a more controlled level. The purpose of this report will be to discuss the state of the arts in America as it relates to the NEA and the government's right to insert itself in the grand selection process by placing restrictions on what artists can do. In other words, government could be determining what is art and what isn't art, a situation causing much consternation among those in and outside of the arts. And, if government does have the right, what does this mean for the art world?"
Abstract This paper reviews and discusses a new genre public art, which developed as a result of artists becoming interested in addressing social issues and changes through their artistic endeavors. According to the paper, the evolution of art began in the 1950s. The paper concludes by discussing how new genre public art has come to encompass various social issues over the years including racism, violence against women, AIDS and environmental damage.
From the Paper "Starting in 1974, the NEA began encouraging artists to develop artwork that was representative of the physical site on which it stood. This led to artists' differentiation between "public art" and "art in public places". "Public art" referred to sculptures occupying a public space that glorified one version of national history adhered to by members of the socially dominant group in society. The "cannon in the park" phenomena is an example of such art, in which America's military might and glory celebrated by its privileged members of society was put on artistic display in public spaces such as parks, plazas, shopping malls, and so on. In contrast to this, "art in public places" referred to artwork that sought to bring attention to the physical, visual, historical, and social properties of a particular site. This type of public art led to its burgeoning use in the seventies towards promoting social and historical concerns of groups traditionally under-represented in the art world, such as women and minorities."
Abstract This paper reviews and discusses new genre public art, which developed as a result of artists becoming interested in addressing social issues and changes through their artistic endeavors. The paper concludes by discussing how new genre public art has come to encompass various social issues over the years including racism, violence against women, AIDS and environmental damage.
From the Paper "Starting in 1974, the NEA began encouraging artists to develop artwork that was representative of the physical site on which it stood. This led to artists' differentiation between "public art" and "art in public places". "Public art" referred to sculptures occupying a public space that glorified one version of national history adhered to by members of the socially dominant group in society. The "cannon in the park" phenomena is an example of such art, in which America's military might and glory celebrated by its privileged members of society was put on artistic display in public spaces such as parks, plazas, shopping malls, and so on. In contrast to this, "art in public places" referred to artwork that sought to bring attention to the physical, visual, historical, and social properties of a particular site. This type of public art led to its burgeoning use in the seventies towards promoting social and historical concerns of groups traditionally under-represented in the art world, such as women and minorities."
Abstract This paper examines how, forming part of the propaganda machine, art and architecture were used largely for the glorification of the Nazi regime and the Aryan race and for the denunciation of Judaism, Bolshevism and what the Nazis thought of as "degeneracy." The paper looks at how, by enforcing changes in the art world and through the use of "new German" architecture, the Nazis sought to cleanse the fatherland of "degenerate art", which was seen as detrimental to the Volk, and to ensure the National Socialist movement's immortality through buildings that would survive to inspire future generations of the thousand year Reich.
From the Paper "Art held a place of high value in National Socialist ideology. Hitler who was an artist turned politician inspite of himself had said "art is the only truly enduring investment of human labour." Hitler linked artistic styles with race, claiming that the Weimar period's "degenerate art" was a result of "racial decline." The Fuhrer also linked art with politics saying "art has at all times been the expression of an ideological and religious experience and at the same time the expression of political will." According to Nazi ideology, only Aryans were the true bearers of culture, therefore only they could produce true art. The modern styles such as Cubism, Dadaism and Expressionism, which had flourished during the Weimar period were a result of "cultural Bolshevism" and influenced by the Jews. "
Abstract The paper explains James Elkin's argument in "Stories of Art" that art survey courses are often accepted by undergraduate students as having absolute academic authority as to what constitutes art and its history. The paper discusses how Elkins asserts that there are many stories of different artists, genres, peoples, and nations and every book or class on art is at least slightly biased and inadequate, since it is dependent upon the author or teacher. The paper concludes by pointing out the problem with Elkins' concept of stories of art.
From the Paper "Imagine a book that was entitled 'World Literature A-Z' or 'Science--Everything You Need to Know.' Very likely, you would be suspicious of such texts as superficial, and would not regard them as serious, academic overviews that treated their subject matter in any real depth. Yet according to James Elkin's Stories of Art, art survey courses often adopt a similarly inclusive project into their own ambitious scope. They are accepted by undergraduate students as having absolute academic authority as to what constitutes art and the history, or story of art. But Elkins argues that: "The single story of art is too flawed to function as the repository for the current sense of art history... Already the major art historians keep a mile away from survey texts: such books are written...by minor art historians who are more involved in teaching than in shaping the discipline (Elkins 130)."
Abstract In this article, the writer offers a comparison of how South African, American, and Czech sources portray national history, art history, world history and personal history. The writer examines a selection of texts to identify to what extent each amplifies linkages between world history, natural history, art history and personal history.
From the Paper "History as a record of events and dates can be a dull affair because it does not necessarily capture the dynamics of personal or even state actions as they were experienced by the people involved. Yet people are what make history and what made up the culture or cultures in which events and actions unfolded. Professional historians, if they are skilled enough, can make an account of an era or a significant set of events lively, but the life's blood of a culture a people a person or ... "
Tags: Personal, history, national, history, world, history, art, history
Abstract An essay outlining how the views and perception of a nation can be both represented and influenced by the art of that nation. In the late 19th century, although two-thirds of the Australian population lived in an urban setting, a bushman identity emerged, both within Australia and in global perceptions of Australians, that was fuelled by such artistic work as McCubbin's paintings. Through an examination of McCubbin's, "A Bush Burial", this essay explores the values of Australia and Australians and their view of themselves as a nation.
From the Paper "In the late nineteenth century an appreciation of the Australia bush emerged along with a fascination for its populace. Fuelled by contemporary art and literature, a common "bushman" image surfaced as a popular Australian view of the nation. Although two thirds of the Australian population lived in urban settlements, paintings such as McCubbin's "A Bush Burial" romanticised the rural lifestyle and assisted in the development of a bushman identity whose valiant qualities urban dwellers liked to imagine they too possessed. However, historians have difficulty in assessing and agreeing on the reality of this image as, when writing upon a view of the nation, each historian is affected by the concerns embedded within their own time period which, in turn, influences their interpretation."
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."
Abstract This paper argues that children's exposure to violence in art and the mass media, whether literal or suggested, is damaging. It discusses findings of the National Television Violence study. The paper offers examples of works of art that might be traumatic to children.
From the Paper "When we think of art we tend to think first of its beneficial effects on society and individuals. The awe-inspiring grace of the Parthenon, the tenderness and majesty of a painting by Vermeer, the endlessness of sky and sun captured by Georgia O'Keeffe ..."
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
