Q: Introduce yourself — who you are and what your vision as an artist is?

A: I was born to be a Artist but actually didn’t realize it until I was in my late 20s. I was born in Bedford Stuyvesant Brooklyn, New York on Mother’s Day. My mother was a beautiful quiet woman and a great Seamstress. Her mother was also a great seamstress.

As a child, I was blessed with dreams that transported me to a realm of wonder and mystery. In these dreams, I encountered ethereal black sillhouette images of pure-hearted Ethopian people. Their beauty, kindness, and purity of soul left an incredible mark on my young heart. 

One fateful day, as they approached me, I felt an overwhelming surge of love emanating from their presence. It was then that I realized their purpose.

Q: What is your work philosophy and how does that impact your work?

LOVE and supporting one another. With most of the money we made we were able to fund and support many people, non-profit profit organizations that help others that are down and out, poor folk in the street and the bowery and all kinds of people in dire need of help. Our aim for this upcoming distinguished show is that whatever sales we make 50 percent will go to a school in Ethiopia for the needy.

I honestly and truly love making story textile needlework art and paintings because in my heart I have so many stories full of love, peace, pain, tragedy, hate, and also stories of hope, faith, and taking risk. I know there will be other stories I’ll have to share. I want to share them through my love and gift of textile needleworked Folk Art. 

Q: What artist(s) inspire you?

A: The Artist whose work absolutely inspires me is the artist that I am collaborating with in this show. Teklemariam. 

Q: What is the best advice you’ve received?

A: The best advice I ever received was from the gallery owner who represented me many years ago. He was smart and experienced. He treated me very well and was the person who advanced my art career. 

Q: When you are not working, where can we find you?

A: When I’m not working you can find me working on my little 23-acre farm in upstate New York in Palatine Bridge. It’s an Old Fashioned 17th-century colonial agricultural hamlet. 

Q: What does exhibiting at Artexpo New York 2024 mean to you?

A: To be given the privilege and honor to participate in this important art fair is more than I hoped for. Unfortunately, my husband fell ill and for the past 8 years, I wasn’t able to do any art shows or events since he was basically bedbound and could no longer walk. He died 8 months ago. I love and miss him terribly. He retired 22 years ago from the Port Authority of NY & NJ. He was a Senior Draftsman there for 33 years. Our Son Richard Allen Jr. was killed in Tower 1 when the airplanes struck into the top of the towers. My beloved husband escaped by the skin of his teeth. He had to walk all the way home once he made it out. He served in the Army for six years after graduating from high school. He was given a Military Funeral with honors and respectively buried proudly and Honorably in Evergreen Cementary 10 minutes from where we live. God Bless you.

The post Meet the Artist – Artexpo New York Spotlight Recipient: Denise Allen appeared first on Art Business News.

The Democratization of Art Criticism

Art criticism, once held in exclusive circles, now flourishes in the digital age. Thanks to platforms like Instagram and TikTok, everyone holds a critic’s pen. Suddenly, a global audience can “like,” share, or comment on a creation. This shift means instantaneous feedback, propelling artists to global stardom overnight. On the flip side, feedback isn’t always positive. Yet, this immediate interaction can shape, even redefine, an artist’s vision. However, it’s not just about popularity metrics. Through comments and direct interactions, artists engage in invaluable dialogue. In essence, the digital realm has democratized and enriched the world of artistic evaluation.

The Shifting Platforms of Discourse

As art’s narrative evolves, so do the platforms that spotlight its discourse. Instagram, undeniably a visual haven, foregrounds imagery, granting artists a digital canvas. Meanwhile, Twitter offers succinct bursts of feedback and thought-provoking conversations. In contrast, TikTok provides a stage for artists to showcase processes and quick critiques through engaging videos. But that’s not all. Pinterest serves as a hub for inspiration, spotting trends, and curating mood boards.

Furthermore, art-centric spaces like DeviantArt and Behance prioritize dedicated artistic communities. As artists navigate these platforms, they’re met with diverse feedback, varied audience interactions, and fresh opportunities for exposure. Each platform, with its distinct features and audiences, molds the conversation around art, continually reshaping and enriching the way we experience and discuss creative expressions in the digital age.

Advantages of Social Media Art Critique

Critiquing artistic work on platforms like Instagram or Twitter presents manifold benefits in this digital era. First and foremost, artists experience unparalleled global exposure. A single post can transcend borders, introducing a creator’s work to international audiences. Moreover, collaborations emerge effortlessly. Through online interactions, artists discover peers, leading to joint ventures and fresh perspectives.

In addition, with the vast audience range, interpretations diversify. A piece may resonate differently across cultures, revealing multifaceted meanings. Furthermore, the immediacy of feedback accelerates growth. Artists can refine techniques or explore new directions based on real-time reactions. Hence, while traditional critique avenues remain relevant, the digital sphere amplifies, diversifies, and accelerates the conversation around creativity, fostering a more connected, informed, and dynamic artistic community.

Challenges and Drawbacks

Despite the evident benefits, the evolution of art critique within the digital realm isn’t without challenges. Firstly, the vast online landscape can create echo chambers. Artists might only receive feedback from like-minded individuals, stunting growth. Furthermore, while platforms like TikTok democratize critique, the value of professional insights might wane.

Notably, the swift pace of online reactions brings the specter of “cancel culture.” A single misstep and an artist’s reputation can plummet. Additionally, the brevity of comments may lead to misunderstandings, often overshadowing constructive discourse. Lastly, with algorithms guiding user feeds, truly diverse feedback might elude artists. Thus, while digital platforms reshape and broaden the critique landscape, they also introduce complexities that artists and critics must navigate with caution.

The Changing Role of Traditional Art Institutions

Traditional art institutions find themselves at a crossroads in the age of burgeoning digital platforms. Historically, museums and galleries held the reins of artistic narrative. Today, their roles are evolving. Some adapt, intertwining with platforms like Instagram, offering virtual gallery tours or online artist discussions. Meanwhile, others resist, upholding the sanctity of physical art experiences.

Furthermore, art schools grapple with integrating digital discourse into classic curricula. As the divide between offline and online blurs, so does the role of conventional art establishments. Augmented reality art experiences exemplify such convergence. The challenge? Balancing timeless tradition with the relentless march of digital progress ensures the art world remains both relevant and reverent.

The Future of Art Critique in a Digital World

Gazing ahead, the realm of artistic critique in our increasingly digital world appears boundless. Emerging technologies promise to reshape the landscape further. Virtual Reality (VR) might soon immerse us in art critiques, making feedback experiential. Likewise, Augmented Reality (AR) could blend physical artworks with digital interpretations, offering layered insights.

Furthermore, Artificial Intelligence could revolutionize feedback dynamics with its potential for personalized art critique. Simultaneously, fresh online platforms will inevitably emerge, each carving out its niche in the vast critique cosmos. Yet, amidst this digital surge, one truth remains: the essence of critique—understanding, appreciating, and constructively analyzing art—must endure. As we stand at this intersection of tradition and innovation, our journey into the future of digital art discourse promises to be both enlightening and exhilarating.

Final Verdict on Evolution of Art Critique

Navigating the intricate maze of the digital era, we’ve delved deep into the evolution of art critique. From traditional realms to the bustling world of online platforms, artistic discourse has undergone seismic shifts. While the democratization of critique through sites like Instagram has its merits, challenges persist. The balance between professional insights and public opinions remains precarious. Yet, one thing is certain: art, in its essence, remains a reflection of society.

Understanding and embracing these changes is paramount as we bridge the chasm between the past and the future. Every voice has its place in this fusion of the timeless and the contemporary. As our artistic journey continues, may we always champion constructive, respectful, and transformative discourse in this ever-evolving landscape.

___________________________________

Author’s Bio

Alexandra Stevens is a passionate writer, art enthusiast, and cultural critic. With over a decade of experience in the world of arts and literature, she has contributed to various art journals, magazines, and blogs. Recently, she collaborated with Clean Cut Moving to pen a series of articles detailing the intricate relationship between art, space, and relocation. 

The post The Evolution of Art Critique in the Age of Social Media appeared first on Art Business News.

The American Visionary Art Museum (AVAM) showcases beautifully executed, well-made artwork created by individuals who may or may not consider themselves to be artists, but who all felt an irrepressible urge to create. Jonathan Swift said it best: “Vision is the art of seeing things invisible.” Located on Key Highway in Baltimore’s Inner Harbor, AVAM is one of just a handful of museums on the planet that emphasize humanity’s natural, a creative impulse as an expression of their soul or inner voice. AVAM has been designated as the official national museum and education center for non-traditional and self-taught artists and features unique exhibits that combine art, philosophy, science, humor, and a vision of a better world.

A BRIEF HISTORY OF AVAM

In 1984, Rebecca Alban Hoffberger was working at Sinai Hospital’s Department of Psychiatry as the Developmental Director of People Encouraging People, Inc. when she came up with the idea of combining a museum and education center to tap into innate creativity. Over the next few years, Hoffberger discovered that others shared her vision and that a few such museums already existed, including Jean Dubuffet’s Art Brut (Raw Art) Collection in Lausanne, Switzerland. Hoffberger persuaded educational television innovator Donna Matson to make a documentary on the Swiss Art Brut Museum as a way to build interest in the idea in the US. Baltimore’s George Circle Gallery agreed to host the first Visionary art show featuring matchstick artist Gerald Hawkes. The show was a resounding success.

AVAM became incorporated in 1989 and the City of Baltimore offered the Baltimore Copper Paint Company and a neighboring historic whiskey warehouse to house the collection. Most of the start-up work was performed by volunteers, and in 1992, AVAM was designated “America’s official national museum, education center and repository for intuitive self-taught artistry.”

VISIONARY ART VS. FOLK ART

The word folk comes from the German word ‘volk’ meaning ‘of the people.’ Folk art is art made either by the people or of the people. One main difference between folk art and visionary art is that folk art comes from a specific tradition, usually handed down through the generations, for example, Hopi pottery or Moravian papercraft. By contrast, visionary art is highly individualized, and spontaneous, and may well be the only example of its type. While materials and methods may be similar to folk art, visionary artists have no constraints when it comes to the following tradition. Visionaries blaze a trail all their own.

THE ARTISTS

Visionary artists are as varied as the art they create. A few had formal training. A few started art school and then quit. More than a few were just fooling around in their basement or garage with random ‘junk’ when they discovered their passion. Many experienced personal struggles, such as poverty, abuse, homelessness, and depression. All experienced an overwhelming compulsion create a concrete version of their vision.

AVAM’S PERMANENT COLLECTION

The Visionary has a wide range of offerings in its permanent collection. It has something for virtually everyone. For example, Bling Universe reflects life — literally and figuratively. From Aurora Borealis to Black Icarus to the Cosmic Galaxy Egg, expect to be dazzled by these one-of-kind mosaics. More highlights include the blue glass-covered ArtCar named Baltimore Blues, a 10-foot-tall statue of Divine inspired by the classic film Hairspray, a Giant Gold Hand, a ‘family’ of robots, and an incredibly intricately detailed model of a cruise ship made entirely from matchsticks.

TEMPORARY EXHIBITS

AVAM’s current mega-theme is ‘Healing & the Art of Compassion (and the Lack Thereof!).’ Its objective is to bring awareness to the twin forces of healing and compassion as a way toward a healthier, more just society. Other temporary exhibits currently on display include ‘The Science and Mystery of Sleep,’ ‘Esther and the Dream of One Loving Human Family,’ and ‘A Visionary Spirit for Invention.’

SPECIAL EVENTS

All the exhibits at the Visionary are one-of-a-kind, but one of AVAM’s especially unique events is the annual kinetic sculpture race. Debuted in 1999 and usually held on the first Saturday in May (next race: May 6, 2023), the race offers participants the opportunity to exercise their creativity and their skills in multiple ways. The human-powered contraptions must be built to be able to travel over land, water, mud, and sand. Some previous race entrants are on permanent display at one of the museum’s outbuildings, including a giant pink poodle. Play chess on a larger-than-life board while you’re there.

From its modest beginnings, the museum soon doubled its footprint with the addition of a second sculptural plaza, an outdoor movie theater, and a second warehouse that was refashioned into classroom and meeting room space. Two outdoor sculpture plazas, a speaker’s corner, an amphitheater, and a wildflower meditation garden also grace the space.

The Visionary is passionate about encouraging creativity in people of all ages and offers free, drop-in after-school workshops at the Enoch Pratt Free Library. The museum also partners with the Howard County Department of Aging and Arts Council to provide mosaic workshops for seniors.

AVAM has abundant resources for teachers. Downloadable lesson plans for grades K-12 are available on their website under the ‘Learn’ tab. The museum also has a video catalog of workshops aimed at educators to provide a deeper understanding of the museum’s collections, as well as ways to connect them to curricula in history, science, and other subject areas.

The Visionary Museum has been committed to social justice since its inception. It created an at-risk youth and incarcerated youth mosaic apprenticeship program which led to the unique decoration of the museum’s exterior.

AVAM is the type of museum you want to experience with others, and it is a memorable place to hold a personal event. Weddings are popular at the museum, with some 70 celebrations being held there each year. Bridal and baby showers are also a common sight at the museum. Venue options include the sculpture barn and garden, the Visionary Center, and the café. For small groups, the wildflower garden, spiral staircase, and café terrace are also available to rent.

If Baltimore is too far off the beaten path for you, you’ll be happy to know that you do not need to travel to enjoy it. Check out their virtual programs, including artist interviews, talks, and studio tours. You can also view documentaries portraying the life and work of visionary artists. The museum offers online workshops as well. Learn to make a sock monkey, crayon critter, night light luminary, imagination portrait, and more. Tutorials are available in English and Spanish.

With so much uniqueness on offer and conveniently located only an hour from Washington DC, the American Visionary Museum is well worth the trip.

 Author Bio: Sue Seabury is a content writer at The Pearl Source. She is passionate about art, travel, and people, and loves sharing unique experiences with others.

The post Spotlight on Baltimore’s Visionary Art Museum appeared first on Art Business News.

The artworld is rich in complexity and diversity. While several art enthusiasts believe that artists make work that only their contemporaries can appreciate, this isn’t always the case. A great art journalist should be able to look beyond the work itself and identify what is important about it and why. And that’s the art journalist’s job to present this information compellingly to the public.

This guide serves as a directory of some of the top names in art journalism. It is a useful starting point if you are interested in becoming a journalist.

Top Eight Picks Worth Studying

To better understand art journalism, it’s essential to know the contributing writers to this field. Here are some of them:

Tyler Green — Photo Credit: Our Choices

 Tyler Green

Let’s kick off the list by mentioning this prominent figure. Tyler Green is considered one of the most important art critics of the 21st century. Through his work as a historian and author, he has brought the arts to light in various publications, especially when it comes to the impact of artists on national histories. Most notably, he is the producer and host of popular arts audio program: The Modern Arts Note Podcast. In his books, including Carleton Watkins: Making the West American, he takes a critical view of writing and art analysis.

Jerry Saltz

Jerry Saltz, the art critic for the Village Voice, has written extensively on contemporary art and criticism since the 90s. His articles have appeared in numerous publications, including New York Magazine, where he joined in April 2007, and Vanity Fair. Saltz has also published several books, including Seeing out Louder, Beyond Boundaries, and How to Be an Artist. His co-authored book De Kooning: An American Master has earned him the Pulitzer Prize. One thing’s certain, Saltz’s harsh criticisms are interesting to read and he is not afraid to call out the “pretentiousness” that plagues certain elite circles.

Christopher Knight — Photo Credit: Los Angeles Times

Christopher Knight

American art critic and writer Christopher Knight is recognized for his Pulitzer award-winning works, ranging from his critic note on LACMA’s precarious restructuring proposal to a Betye Saar’s artwork review. The L.A. Times’ art critic, Rabkin Foundation award winner, and three-time nominated finalist has made several appearances on such media outlets as CNN, PBS, and CBS. While covering global art, the Hartwick College alumnus centres on the California scene.

Robin Cembalest

Award-winning investigative journalist and one-time, long-serving ARTnews editor has covered art for over two decades. Some of her previous works have appeared in publications as varied as the Wall Street Journal, the New York Times, and The Village Voice. The Yale graduate has earned a reputation as a social media consultant and mentor for digital content creators. Among her initiatives is Art Writing for Art Professionals.

Jason Farago — Photo Credit: Apollo Magazine

Jason Farago

Art historian, editor, and Critic, Jason Farago, has carved a niche for himself in the art world. A regular contributor to The Guardian and other publications, the Even co-founder covers art and culture within and beyond the U.S. His sharp wit and insightful perspective have earned him wide acclaim from art enthusiasts. The New York-born art journalist has won the inaugural Rabkin Prize award, a prestigious annual international prize recognizing excellent art writing. He currently writes for the New York Times.

James Elkins — Photo Credit: Instituto de Historia de Arte

James Elkins

Art historian and critic James Elkins has been active for more than two decades. Known for being a theorist and practitioner of modern and contemporary art, the Ithaca-raised author also specializes in structural criticism. Elkins has published extensively on issues of art criticism, often incorporating the insights of philosophers, art historians, and literary critics into his books. He lectures at the School of the Art Institute of Chicago. His works include Pictures & Tears, Why Art Cannot Be Taught, and What Painting Is.

Adrian Searle

British art critic Adrian Searle’s career in art journalism spans over two decades. A one-time painter for the Nigel Greenwood Gallery, the art journalist took a different path when he became a contributor for Artscribe magazine. He has had works featured in Time Out, The Independent, and the Financial Times. Adrian refers to his transition from painting to art journalism as somewhat conflicting as he enjoys both disciplines. His curatorial projects include Glad That Things Don’t Talk and Promises Promises. Adrian has been a part of The Guardian’s establishment for 26 years, currently serving as its chief art critic.

Roberta Smith — Photo Credit: Artforum

Roberta Smith

A contemporary art critic for the New York Times, Roberta has written on art and culture for 40 years. Her essays on contemporary and visual art have been featured in various publications, including one from the National Gallery of Canada. The three-time award winner and wife to Jerry Saltz approaches her job with a fine-tooth comb, using her journalistic skills to uncover and highlight compelling works of art, from museum exhibitions to gallery shows.

The individuals represented here are just a few of the most successful art critics out there. Considering how challenging this discipline can be, their achievements are all the same remarkable.

Elements of Art Journalism

It is challenging to conceptualize art journalism, as it is a field that combines elements of art criticism and art history. However, at its core, it is a journalistic discipline that reports the creation, practice, and history of art. Below are some important elements of art journalism:

Research

This is the most crucial step for any journalist, especially those in art journalism. You can’t write anything that you haven’t researched. It is important to study works of art that interest you, even though you might not understand them initially. Doing so will help you to identify what is good about them and what may need improvement.

Analysis

Art critics are encouraged to interpret art. This means that they can present the artist’s work in a certain way to highlight their strengths and weaknesses. But it doesn’t mean that they have to interpret art in a negative light. A critic should always maintain objectivity. Research and analysis should be conducted to highlight a work’s merits and challenges. In that sense, art critics are artists too. That’s what makes them different from the average writer.

Contextualization

To fully understand art, it’s necessary to see it in the context of its history. It is also important to appreciate art within its cultural, economic and political environments. Without context, a work of art is meaningless. While it may seem easy to draw connections between artworks, their interpretations vary in many ways. You have to understand what motivates an artist to create a particular piece of work. That way, you can bring an average reader to appreciate it.

Conclusion

Becoming a great art journalist requires more than excellent writing and presentation skills. It demands a deep-rooted understanding and application of art history, techniques, and forms. Consider majoring in art history to ingrain yourself in the historical and cultural significance of art. You should also have a deep interest in various artists and their works. Develop additional skills, like reporting and researching, via journalism courses. This will prepare you for a career as a skilled art journalist.

About the Author: A professional academic writer and researcher, Laura C. Fields is the founder of BetterWritingServices, a platform that provides review services for students at all levels. Her passion for closing learning gaps has helped improve countless academic papers. She is the go-to expert on all things related to essay writing.

The post A Comprehensive List of Famous Art Journalists You Should Read appeared first on Art Business News.

Q: Introduce yourself – who are you and what do you do?

A: I go by the name Kai and I’m an international artist who loves working with different mediums that raise awareness and express certain viewpoints and social commentaries that tie us all together as human beings.

Q: What is your background?

A: I was born and raised in Los Angeles and my parents were both of diverse backgrounds, which helped me appreciate different cultures and art from an early age. By my mid-teens, the concrete streets of LA became my canvas for creating various street art, graffiti, and murals. I was fortunate enough to study at the California Institute of the Arts and the prestigious L’Ecole des Beaux-Arts in Paris.

Q: How do you work?

A: While I love to collaborate on a piece of art, I prefer to work solo – with a high degree of concentration that helps me convey not just how the artwork will appear, but also how it communicates a meaningful message. When it comes to creating work, I first sketch it out, then create it digitally to clean up the fine lines. This then allows me to figure out which medium is the most preferable to create my message through – paint, concrete works, sculptures, or even tabletop sculptures. Early on in my work, I developed a signature character named “IF,” which is short for “Imaginary Friend.” This recurring character is a central component to much of my recent work, but IF bears no distinguishable physical, gender, or race-related traits. I created this androgynous character so that anyone can relate to it without applying stereotypical or cultural bias. IF has become a prevalent part of my sculpture and paint work, signifying messages that are ingrained in the design itself. IF is simply there to help convey the many universal themes that bind us together as a society.

Q: What art do you most identify with?

A: Expressing my message through street art has remained a form that I readily identify with. Later, I began to work with concrete and cement, which I work with for many of my original sculptures. In a way, I’ve come full circle from my days creating original art on the streets of Los Angeles to the cement and concrete I now fashion into sculptures.

Q: What has been your favorite experience so far, as an artist?

A: It would be very hard for me to share just one favorite experience but recently, I had the opportunity to work with Odell Beckham, Jr., a professional athlete who plays football for the Los Angeles Rams NFL team. He was expecting the birth of his first child and commissioned an original cement and bronze sculpture to celebrate what it meant to him to become a father for the first time. The piece is entitled, ‘Endless Possibilities’ and depicts my IF character, on a bended knee, presenting a globe of the world to a small child. Beckham was very moved by the piece, which he felt communicates the love and endless possibilities that a parent has to offer his or her child. Last year during Miami Art Week, he joined me in person at the Wynwood Walls Urban Graffiti Museum for the unveiling. It was truly a special moment, and this experience was definitely one of my favorite experiences as an artist.

Who inspires you?

A: People inspire me. Not necessarily on the individual level, but as a collective global and cultural society. Listening to people speak also really inspires me. Hearing people’s stories, how their day was, listening to the news, music, television. Sometimes what isn’t said is more important than what has been said. I try to use my artwork to communicate the different universal themes that bind us all together. We have more than enough issues that divide and separate us, but I prefer a more idealistic viewpoint. I want to see the good in people – the love, time, caring, success, and similarities that all human beings are capable of sharing with one another.

Q: What is the best advice you have received?

A: I think the best advice anyone can receive is the kind you’re willing to listen to and take to heart. I was raised to believe that nothing is impossible and that you can’t let the world tell you no. Believing in yourself is a real commodity – one that I wish more people would realize.

Q: When you are not working, where can we find you?

A: Well, I am a bit of a workaholic and I love to get into whatever I’m creating at the moment. Keeping busy with developing new collections, planning new exhibitions, and creating original pieces is what keeps me going. But, when I do take breaks, I love to take my dog for walks outside. I’ve also spent a lot more time in nature, allowing me to clear my head and create space for new ideas. I also enjoy cooking. It’s a different type of art.

Q: How has your career as an artist shifted during the past few years?

A: Since I began working with Bernard at Markowicz Fine Art, I’ve had a lot on my schedule and, for an artist, that’s definitely a good thing. I’m enjoying the subtle activist nature of the themes I’ve been creating lately. We put a lot of work into my solo shows at CONTEXT Art Miami late last year. I debuted a brand-new collection of paintings and sculptures with the theme, “Before It’s Too Late.” This exhibition had a specific message for society as a whole – bringing attention to the fragile environmental state of the world we live in. “Before It’s Too Late” is a cautionary tale, demonstrating that we don’t have an unlimited amount of time to address the sustainability of the planet. Going forward, I hope to spread this message and subsequent activism on more of a global scale.

You can find Kai on Instagram to stay up-to-date on his latest projects.

The post Meet the Artist: Kai appeared first on Art Business News.

WHAT IS THE SIGNIFICANCE OF ART HISTORY?

History tends to repeat itself. So, why study art history when you can pursue other options? If we look at the discipline from a career perspective, we see that it serves fundamental purposes.

UNDERSTANDING CULTURES

Visual art tells stories about our past and gives an account of past events. Art history allows us to see back and learn how civilization has changed over time. It helps us to understand ourselves better. What is it that makes certain values so important? What has shaped our thinking and how do we see the world?

CRITICAL THINKING IS ESSENTIAL

It is not about learning dates, artist names, movements, etc. when you study art history. It is about analyzing paintings, photographs, and sculptures. You must support your analysis with convincing and rational arguments. This will help you develop your critical thinking.

Art history books tend to focus on one particular area, set of artists and style of art. This is usually Western fine art made by men. This is a narrow and exclusionary approach that ignores other people groups. It also omits creative expressions. That is why it’s important to know how to select the right books.

HOW TO CHOOSE THE RIGHT ART HISTORY BOOKS

A textbook is a good place to start if you are new to art history. This is an academic approach that will provide a basic overview of major art movements and styles. New textbooks can be expensive. You can opt for PDFs online that are free or used copies at Amazon if you choose to go this route.

It will be easier to find what interests you and learn more about art history once you have a good understanding of it. This could be a particular style, artist, period, or other aspect of art history.

JANSON’S HISTORY OF ART (9TH EDITION). BY PENELOPE J.E. DAVIES ET. AL.

Janson’s History of Art is the most popular book for students of art for the past 60 years. It was first published in 1962 and provides a comprehensive overview of art history, from the Gothic period through modern times. The ninth edition, which is the most recent, has expanded its coverage. Previous editions had a tendency to neglect female artists and minorities. It also includes other art forms, such as architecture or photography.

THE STORY OF ART BY E.H. GOMBRICH

Gombrich begins the book by saying, “There is no such thing art. There are only artists.” This is the opening line of the book, as Gombrich focuses on the individual artists and their works. The editorial staff at Art in America recommends it highly and it has been a national bestseller for over 40 years.

It is written in simple language that makes it accessible to readers of all backgrounds and ages. Although the content does touch on tribal art, it focuses more on Western male artists. 

AFRICAN-AMERICAN ART BY SHARON F. PATTON

The diversity of art and its creators is a hallmark of the human condition. Sharon F. Patton’s 1998 classic, African-American Art is a showcase of the many art styles found in America’s black community during the 18th through 20th centuries. It discusses the architectural styles of enslaved persons, the folk- and decorative arts of 19th century America, and how they were influenced by major events such as the Civil War.

Patton moves into the 20th Century and examines the intersection between politics and the aesthetics of African-American art.

WOMEN, ART, AND SOCIETY BY WHITNEY CHADWICK

Chadwick’s book challenges long-held beliefs that great women artists only are great because they are the “exception to the rule.” It was originally published in 1996 and has since been a source of light on previously unknown female artists and their work. The women studied span the Middle Ages through modern times and include notable names such as:

• Wangechi Mutu
• Pae White
• Yael Bartana
• Jenny Saville

Chadwick does more than just highlight these women. She also reexamines their work from a feminist perspective. Chadwick’s critique focuses on how women in art have been historically marginalized.

100 YEARS 100 ARTWORKS BY AGNES BERECZ

Although it may be the most recent book on our shelves, that doesn’t necessarily mean it is only contemporary. Berecz examines the greatest works of the last century in 100 Years. Her survey starts in 1919 with Marcel Duchamp’s playful L.H.O.O.Q.

100 Years includes works from all over the globe, in different styles. This makes it even more fascinating. 

CONCLUSION

Academia has historically excluded contributions made by women, minorities and non-Western actors throughout history. When it comes to their contributions in art, these groups have been overlooked. Authors are now displaying artists from different backgrounds in their books. You will gain a greater understanding of art over the years by reading widely.

Author’s bio: Irene Mitchell is a member of the Editorial Team at Educator’s Stream, a professional learning community. Mitchell is an educational freelance writer, who is experienced in writing for students, parents, and the ones asking to do my homework for me. Also passionate about writing and sharing her knowledge through blogging.

The post Top 5 Books to Studying the History of Art appeared first on Art Business News.

Their complexity means that these questions are tackled by experts, who tend to forget what is essential—namely that museums are for the general public.

We work for the public, and the visitor is our central concern. This may seem obvious as, armed with statistics, we trumpet our successes and our visitor footfall. The risks we refer to are things like overcrowding and commercialization. The reality, however, is very different.

All too often, museums stand empty. A recent study on cultural practices carried out by the French Ministry of Culture shows that 71% of French adults never set foot in museums. This study, carried out every ten years, highlights long-term trends: in 1974 the figure was 72%. Progress has indeed been disappointing given that so many major new museums have opened over the past fifty years: the Pompidou Centre, the Musée d’Orsay, the Musée du Quai Branly, Louvre Lens and Pompidou Metz to name but a few.

This is all the more disappointing as, in parallel with the emergence of so many new museums, increased emphasis on mediation and a new focus on artistic and cultural education in schools were supposed to attract a broader spectrum of visitors.

And yet the endless queues at the entrance to the Louvre and popular exhibitions tend to refute this observation. How can a visible increase in footfall be squared with a deeper sense of disenchantment? Three factors come into play:

• School groups flock to museums; this is obviously a very good thing, although when children grow up most of them fail to
• Tourism attracts visitors from far This is also a very good thing, although people will visit a museum thousands of miles from home, they may never set foot in a local gallery or museum.
• Regular visitors keep coming back. This concerns a minority of visitors who make the most of the wide range of museums on offer. Cultured urbanites obsessed by how long they must wait in line to see the Morozov Collection are unaware of the chasm that separates them from the rest of

A “winner takes all” situation emerges. Major museums and prestigious exhibitions generate long queues, whereas elsewhere museums are empty and most people never visit them. We need to understand this apathy. The challenge is to spark interest and to foster a desire to discover what museums have to offer.

Somewhere in France, when the lockdown was over, I saw that the pavement cafés were full of people—but I was one of the few visitors to the remarkable museum nearby. Why should this be? Is the admission fee too expensive? Do people not have enough time on their hands? If so, why are theme parks, immersive experiences, and sporting events, which are more expensive and time- consuming, so popular?

For France Museums, which supports museum projects, this is a crucial question. How can we make people want to visit and return to museums? “The museum,” said Sherman Lee, “is a primary source of wonder and delight for mind and heart.” How can we ensure that his words continue to ring true?

We must hammer home the message that a museum is a place unlike any other. Its grand ambition—and its extraordinary presumption—is to defy time and space.

Michel Foucault coined the paradoxical concept of the heterotopia, or realized utopia. He believed that the museum, as an example of a heterotopia, “aims to enclose all times, all epochs, all forms and all tastes in one place, so as to constitute a place of all times which itself exists outside of time and is out of reach of its jaws”.

What can we learn from this? The museum must not become an ordinary place. It must offer wondrous experiences; it must provide insights into the mysteries of creation; it must invite us to embark on new journeys.

This is a daunting ambition. Though the museum must never be ordinary, each visitor must feel as if they are on familiar ground. The museum is a place for integration and sharing where the notion of community is key. It is a place that is open to difference and intelligence. It is a place of communion, not of luxury. This must be its fundamental approach at a time when fundamental values are being called into question: the equal right of all human beings to dignity, freedom of thought and expression, and respect for others. To paraphrase Roland Barthes: “The artwork puts no pressure on the viewer. It speaks to the truth of emotions, not of ideas: it is thus never arrogant, never coercive […]”.

The challenge that faces any museum is to avoid the idea that it is merely there to present a collection. Its artworks serve a much broader purpose: the museum uses them to create a sensory experience that conveys a particular message and brings stories to life. The curator and art historian Henri Loyrette often tells the story of the writer Charles Péguy, who went to the Louvre as a student and experienced what he called a “promotion of being” leading to an “immediate perception of the long and visible trajectory of humanity”.

It is our job, as museum professionals, to ensure that visitors can enjoy a similar experience. We must provide an environment that sparks the kind of aesthetic emotion that only the original artwork can make us feel. It is an environment that must welcome us, guide us, inspire us, excite us, and take us on a journey. The way artworks are presented, the place where they are displayed, the interpretive resources that enrich the experience, and the visitor journey comprising all the different aspects of that experience. All of these components together make up a coherent system.

It is an open-ended system: visitor expectations today are not the same as they were fifty years ago. It is a system that must reach beyond the boundaries of the museum: the idea is to reach out locally and globally using the range of tools that modern technology has made available. It is an open system that can host all forms of art: music, film, dance, theatre and so on.

For the magic to work, the relationship between the visitor and the artwork must be nurtured and never curtailed. The artwork must function as an artwork: as Nelson Goodman says, “while most of the users of a library know how to read the books there, many visitors to the museums do not know how to see, or how to see in terms of, the works there. […] Making works work is the museum’s major mission […] The myths of the innocent eye, the insular intellect, the mindless emotion are obsolete. Clearly, works of science work in this way too, as do the collections of museums of science and natural history […] Museums of different kinds do have some different problems, but their common end is improvement in the comprehension of the worlds we live in. Somehow, the immutable work and the volatile viewer must be reconciled. Attention must be held long enough for a work to work”.

To paraphrase Roland Barthes who, referring to works of literature, recalled the importance that should be accorded to the reader: “An exhibition is made up of multiple works from several cultures that enter into a dialogue, parody one another or compete with one another; but there is a point at which this multiplicity comes together: that point is not the curator but the viewer (…) The unity of an exhibition lies not in its origin, but in its audience”.

Interactive world map from the Louvre Abu Dhabi Exhibition : Rembrandt, Vermeer & the Dutch Golden Age 2019 (Department of Culture and Tourism Abu Dhabi Photography by Jonathan Gibbons)

The challenge facing the museum is to include all visitors while fighting tooth and nail against the dangers of sectarianism and essentialism. Equality in dignity and rights, a living principle of humanism, is reflected in the equality in dignity and rights of every artwork. This in turn is a living principle of the universalism embodied by the Louvre Lens and Louvre Abu Dhabi.

The “heterotopian” museum is a hybrid, welcoming, radiant, exacting, enjoyable and scholarly place. Today’s museum, if it intends to open its arms to the public, is not like the museums of yesteryear. It is a complex system that requires cutting-edge expertise of a kind offered by France Museums.

Set up to bring together French national museums to work on the pioneering Louvre Abu Dhabi project, France Muséums capitalizes on this unparalleled experience, using its expertise and that of its partner network to run museum- and heritage-related projects. The shortcomings of many museum projects are not due to lack of resources, ambition, or talent; they arise from a failure to ask questions, to define expectations and to formulate goals. The job of France Museums is to help support projects from concept to implementation. These challenges have led us to organize a symposium in the French Pavilion at Expo 2020 Dubai, accessible both physically and remotely, on January 15, 2022. This will be an ideal opportunity for numerous experts in the field to shed new light on these questions.

Author’s bio: Herve Barbaret is the Chief Executive Officer of France Museums. Prior to his appointment at Agence France-Muséums, Barbaret has been General Secretary at the French Ministry of Culture since June 2017. He has been assisting the French Minister of Culture by both managing the ministry, which employs 750 public servants, and implementing transversal cultural policies. Throughout his career, he has developed on-the ground managerial expertise as well as a high-level relational skill in both administrative and business sectors.

Hervé Barbaret has more than 15 years of experience in the cultural field where he held various positions such as Deputy General Director at the Cité de l’architecture et du Patrimoine (2004-2007, a cultural institution in charge of promoting architecture), Managing Director of Musée du Louvre (2009-2015), member of the Boards of Directors of Agence France-Muséums, Louvre Lens and of the Louvre Endowment Fund. He has been involved in major cultural projects: the creation of the Cité de l’architecture et du patrimoine, the Musée du Louvre’s Department of Islamic Art, the birth of Louvre Lens and Louvre Abu Dhabi, a project he has been supporting during its prefiguration phase and cherishing for many years.

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These days, you do not have to be an accredited investor or an institution to own fine art or collectibles. You too can invest in fine art and own a masterpiece or rare collectible – or more than one! Use your eye for quality and build investing skills by enrolling in one of the art investment platforms online and purchasing fractional shares of works of fine art and collectibles.

This article explains the different platforms available to you and anyone who wants to start investing in works of art or collectibles to build passive income.

WHY SHOULD I INVEST IN FINE ART OR COLLECTIBLES ONLINE?

To Be Engaged with Your Investments

If you are interested in the art world or collectibles, investing in these will engage you more than if you invest in, say, shares of commercial property or mutual funds. Simply put, if you are an art lover or a collector, you will enjoy investing and learn more if you invest in art or collectibles.

To Further Diversify Your Investment Portfolio

If you have paid off all of your credit card debt, fully funded your emergency fund, regularly contribute to your IRA, and have disposable income in excess of these and your other monthly expenses, you can further diversify your investment portfolio by purchasing shares in fine art or collectibles online.

To Invest in Something that Historically Holds and Builds Value

Historical trends show that the fine art and collectibles market is not as volatile as the equity market. While gains in these markets may be less than those possible in the stock market, the value of your investment in fine art or collectibles will slowly and steadily increase over time.

To Own Shares of Artworks or a Collectible That Can Be Easily Traded

One problem with investing in fine art or collectibles is that physical objects are not nearly as liquid as stocks and bonds. A work of art or collectible must sell, usually through an auction house or a gallery before investors realize a profit. For a work of art or collectible to sell, there must be a buyer. So while there is almost certainly value in fine art and collectibles, an investor must be prepared and willing to hold until they sell.

Most online platforms buying and selling fine art and collectibles have largely overcome this problem by creating a secondary market for fractional shares and NFTs, allowing investors to buy and sell their investment in collectibles, works of physical art, and digital works of art.

Online Art Investing Platforms Allow You to Purchase Fractional Shares of Works of Fine Art and Collectibles

Platforms such as Masterworks, Otis, and Yieldstreet are democratizing investing in art and collectibles, allowing non-accredited investors the opportunity to purchase fractional shares of collectibles and works of fine art by established and blue-chip artists of the past and of today. These platforms bring more liquidity to investing in fine art and other collectibles by creating a secondary market for these fractional shares.

The offerings on these platforms are curated by research teams that track the market performance of various artists and types of collectibles. The teams purchase and securitize the works and collectibles they believe will perform well if sold in as little as eight months or as long as ten years, at which point after the platform’s fees are deducted from the sale price investors receive their pro-rata share of the profits.

However, an investor in any of these platforms does not have to wait for the work of art or collectible to be sold to sell their fractional shares. Investors can sell their fractional shares at any time through the platform’s secondary market.

While the fees may be substantial (as much as 20% of the final sale price), there is a low buy-in. The minimum initial investment for Masterworks is $1,000 and for Yieldstreet is $500, while fractional shares on Otis sell for as little as $10. And for all these platforms, investors can rest assured that management’s interests are squarely aligned with theirs – they too aim to sell art and collectibles at a profit, as they make money primarily through sales commission.

You Can Invest in Digital Art By Purchasing Non-Fungible Tokens (NFTs)

With the advent of Blockchain technology, investors can securely purchase and hold nonfungible tokens (NFTs) in digital artworks and digital collectibles. These works are unique, nonphysical, digital pieces that, thanks to Blockchain technology, can be verified and traced. Blockchain also supports liquidity of this type of investment, allowing investors to buy and sell NFTs in collectibles and digital art easily.

NFTs give contemporary artists and those creating collectibles such as sports and movie memorabilia the opportunity to sell their work directly to their investors, giving investors access to their work in an open marketplace. NFTs are easily bought and sold on various online platforms.

To purchase NFTs:

1. Go to an NFT marketplace online such as OpenSea, MakersPlace, or SuperRare and shop for the art or collectible that appeals to you as either a collector or an investor – or both!
2. Fund your digital wallet. NFTs are an Ethereum-based asset that can be purchased with Ethereum tokens.
3. Purchase NFTs for the work or works of art you are interested in.
4. Track the market and buy or sell NFTs as you see fit.

Do Your Due Diligence Before Investing in Fine Art Online

Every platform offering the opportunity for non-accredited individuals to invest in fine art and collectibles online will disclose their performance in the market, historically, as well as their administrative and management fees and sales commissions. Be sure to understand your financial and time commitment before you apply to invest in any online investment opportunity.

About the Author: Veronica Baxter is a writer, blogger, and legal assistant operating out of the greater Philadelphia area. She frequently works with the Law Offices of David Offen, a noted bankruptcy attorney in the area.

The post How Just About Anyone Can Invest in Fine Art appeared first on Art Business News.

When the pandemic eventually reached U.S. shores, the art gallery business model was suddenly faced with a perilous outlook. The need to maintain social distance, coupled with the transmissible risk of intimate indoor gatherings, quickly dismantled the art gallery’s leading sales channel. The precautions deemed necessary to protect public health also meant exhibitions, art fairs, receptions, and auctions would be severely curtailed. How much of a hit did the art market absorb?

Evidence of the distressing times the industry faced in 2020, tallied by Art Basel and UBS, pegged approximate sales at $50.1 billion, a 22% reduction from the previous year. Bad, yes. Catastrophic? Not by a long shot. A deeper inspection of the past few years reveals an art market already in decline across multiple channels. And the overall hit was in line with the 23.5% drop during the Great Recession in 2009. However, it’s one thing when the economy tanked and art buyers, collectors, and investors were forced to tighten their purse strings. It’s something altogether different when the activity of browsing art in-person at a gallery could be a potential risk to your health, and possibly even your life.

Gallery owners and directors were forced to confront the economic circumstances of this public health crisis. To maintain an outcome of break-even at best, the very business model for viewing, selling, and acquiring art would need major adaptations. Though the strategies that galleries undertook were often task-intensive, the basic premise was simple. The common denominator was a reversal of the traditional sales process. If we could no longer depend on people coming to us to buy our artwork, we’d simply have to bring our artwork to them. This was accomplished in many different ways, with varying levels of success, but the overriding theme of the effort was a noticeable shift to the virtual world of online sales.

Thankfully, online sales were already beginning to pick up steam in the industry, primarily driven by tech-savvy Millennials, on a mission to tilt the median age of the art collecting target market in a much younger direction. Left with no other choice, the majority of the industry’s traditional buyers, who prefer seeing art up close and personal before they purchase, were forced to leave their comfort zone and followed suit. In a short period, galleries began shifting sales operations to a more virtual experience, prioritizing an enhanced online presence for their own e-commerce capabilities, and listing inventory on the increasingly popular online art sales platforms. That’s not to say galleries completely abandoned in-person appointments, intimate receptions, and exhibition unveilings, but these efforts took much more planning and ingenuity to ensure public safety compliance according to local, state, and federal guidelines.

According to market research groups that track different industries, the number of art galleries in the U.S. is just shy of 5,000. While many of these already had an online sales component in place, it’s almost certain that many others needed to develop this critical sales channel in a short time frame or register to be listed on some of the industry’s most popular aggregate sales sites, such as Artnet, Artsper, and 1stdibs.com. The option to feature artwork on an online sales platform is a bit more labor-intensive. It became vital to keep the gallery’s offerings up-to-date, fresh, and with plenty of inventory to handle the potential sale that could materialize at any moment. To position a potential sale, gallery directors had the responsibility to hang art on a particular wall with specific lighting to enhance its features and take professional photos from many different angles. Sometimes, short teaser videos were also produced. If and when buyers expressed interest in a certain piece, gallery directors immediately seized upon the opportunity, lest the customer move on to another choice. As these exchanges were almost exclusively via email, it became very important for gallery directors to sell themselves as much as the art and artists they were promoting. The “art of conversation” pivoted from in-person to email messaging. The goal? Provide the potential buyer with as much information on the artwork and artist to build the collector’s confidence in purchasing “sight unseen” pieces. The browsing, negotiation, and sales cycle of selling art virtually can be frustrating with a lot of “back and forth” messages, but nonetheless, it’s always exciting to finally close a sale.

Gallery owners and directors never fully gave up on in-person sales, but the large-scale exhibition debuts gave way to smaller, carefully planned receptions. Planning these events and openings far in advance became the norm. RSVPs were required, with specific time slots to maintain proper social distancing, crowd control and compliance with public safety requirements such as masking. Many events, including art fairs, developed outdoor exhibitions or online virtual art fairs, which decentralized the vibe and brand of individual gallery events—but helped keep the sales pipeline afloat. For the time being, it appears that the smaller, more intimate gatherings will continue to supplant the big blow-out openings in the pre-Covid area. But this isn’t an altogether a negative development.

There is one final viewpoint worth mentioning, from the gallery director’s perspective on selling art in the time of Covid. Market disruption related to the pandemic led to a strengthening of the relationship ties between artists and the gallery owners who feature their works. This is due in part because many collectors and investors, buoyed with extra time on their hands, suddenly had the bandwidth to conduct a lot of online research for shopping for art on their own. More than a few buyers began contacting artists directly to negotiate deals for specific artwork pieces, attempting to bypass the gallery completely—even if they were initially introduced to the artist’s work by the gallery.  The gallery-artist relationship is one predicated on the bonds of trust and requires co-dependence in adhering to each of their respective roles. Though in some cases this trust was tested, the business model and roles of the artist-gallery relationship remain largely intact.

As vaccinations continue to ramp up in the U.S. and globally, collectors, interior designers, and investors have steadily regained their comfort level in visiting galleries in person to search for fine art. Foot traffic has begun to increase exponentially, taking us back to selling art face-to-face, yet the virtual option remains robust. The experience of viewing art still produces a sacred and shared emotional reaction among us all. Every participant in the fine art industry, be they an artist, gallery owner, director, collector, designer, or investor, can still agree on one key premise of the business model. Given any of the alternatives, there’s simply no substitute for contemplating the emotion and wonder of artwork in person.

About the Author: Paul Dahmen is the Gallery Director at Markowicz Fine Art in Laguna Niguel, CA. Dahmen graduated with a bachelor’s degree in English Literature and Art History from Wayne State University in Detroit.

Dahmen moved to southern California and began as an art consultant at William Merrill Gallery in Laguna Beach. After a stint at Gebert Gallery in Venice, he created FP Contemporary gallery under the same roof as an art consulting firm in Culver City. When the opportunity to manage Markowicz Fine Art presented itself in 2021, he was excited to return to Orange County and begin the next chapter of his established art career. He can be reached at paul@markowiczfineart.com

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