By Kevin F. McCarthy
Supplying information regarding advancements within the visible arts international, this e-book promotes and research of the sphere, describing the features of visible arts shoppers, artists, funds, and association.
Read Online or Download A Portrait of the Visual Arts: The challenges of a New Era PDF
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Extra info for A Portrait of the Visual Arts: The challenges of a New Era
Although a small fraction of the American public states that they have “hands-on” involvement with the visual arts, this involvement is more likely to be regarded as a source of individual enrichment and enjoyment than as part of the professional visual arts environment. As noted in the Introduction, objects produced by amateurs are not typically considered fine art works. Thus, there are two principal forms of consumption of the visual arts: (1) viewing original works of art primarily (but not exclusively) in museums and galleries and (2) buying and collecting art.
The changes are particularly noteworthy in the contemporary market where, until relatively recently, low prices have allowed transactions to be conducted informally, via gentlemen’s agreements and in the absence of the kind of complex legal and bureaucratic apparatus required to conduct a high-volume, high-value business. The last quarter century has seen, in addition to the emergence of a global pool of collectors and artists, the advent of new professional specializations. A new service economy orbits the visual arts—specialized art banking services, collectors’ investment consortia, art shipping and insurance experts, art lawyers, corporate art collections and consultants, independent curators who double as dealers, public relations companies specializing in managing the reputations of artists and museums, and online inventory management and art trading services.
In addition, there are important differences in the ways these two art forms are consumed and distributed. 13 Consumption in the visual arts, however, differs from this pattern in important ways. First, because authenticity is a central feature of the visual arts experience, reproductions of visual art works are viewed as distinctly inferior substitutes for viewing the original work. , viewing art on televi____________ 11 We recognize, of course, that this distinction is not always as clear as we have drawn here.
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