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.

The Definition of Art Photography

Trying to define, and justify, any type of art will always be a little tricky. The things that make one style of photography and art movement important can often be overlooked for decades. However, there are a few key things to look for when considering what separates art from general photography.

Art photography is in line with the goals of the photographer. This is designed to elicit an emotional response, communicate a message, or explore the formal aspects of photography as a medium. The process of creating art is often an intentional one. Even if the photography isn’t recognized as art for years, its artistic qualities will stand the test of time.

Photography can also become art in retrospect. Photographers like the legendary Dorothea Lange started off as documentarians and are now recognized as some of the finest art photographers to have lived.

Before Photography Became an Art

It might surprise you to learn that the first device that we would recognize as a camera was invented in the year 1021. This was known as the camera obscura. Interestingly enough, it shared a lot of problems that held photography back as an art until the mid 1850s.

Early photography had a few big problems. It wasn’t until the early to mid-1800s that cameras could capture images on film stock. The film used then was incredibly fragile and very expensive.

It was also challenging to replicate images on a scale that could be enjoyed in an art gallery.

Most early photographers were considered to be technicians by the general public. They were skilled tradespeople that knew how to operate the complicated machinery and chemistry behind taking photographs. It wasn’t until the 1850s that photography became an art.

The 1850s and the Dawn of Art Photography

In 1853, The Photographic Society of London became the first major group focused on photography as an art. The next year, the Société Française de Photographie was founded with similar goals. These two groups became flagships in a sea of budding photography groups that discussed the craft, and art, of photography.

In 1852, Sir William Newton gave a reading of his paper titled Upon Photography in an Artistic View which advocated for a particular style of photography. This would come to define art photography for the next three decades.

Newton’s paper argued that art photography should seek to emulate the artistic qualities of classical paintings. He advised art photographers to throw their subject slightly out of focus, use re-touching, and post-production extensively to achieve the desired effect. Many art photographs of this time we’re composite images made up of five or more individual photographs.

It would be another three decades before nature photography would be able to claim its space in the art photography world.

Natural Photography Becomes Art in the 1880s

In 1889, photographer Peter Henry Emerson published a groundbreaking work titled Naturalistic Photography. This essay outlined the philosophy of photography he had been working on for the preceding decade. It argued that the qualities of photography made it artistic on its own. This style argued that photography didn’t need to be touched up to replicate classical painting.

Emerson’s style became known as Naturalistic Photography from the essay that inspired it. This style of photography did away with staged actors, soft focus, and composites made of multiple images. These were shots taken directly from life and then displayed as artwork.

Fans of the style believe that it allowed the inherent qualities of photography to stand out. Naturalistic photography is often considered the moment where photography branches out to an art form. At this point, photography is no longer bound by the rules of closely related art styles, such as painting, and begins to be recognized for its own artistic merit.

The Brotherhood of the Linked Ring and Photography Salons

Fast forward a decade later to 1892. Photography as an art form is getting more popular than it’s ever been. New photography groups are popping up all over the world including Germany, Italy, and India. One of these new photography groups was the Brotherhood of the Linked Ring.

The Brotherhood of the Linked Ring rejected the idea that photography had to be a strictly technical concept. These were artists approaching photography from new angles and trying out new styles. The Brotherhood of the Linked Ring was made of countless individuals with their own individual styles, all sharing a belief that photography was a valid art form.

From 1893 to 1909, The Brotherhood of the Linked Ring staged photography art galleries they referred to as “salons.” These salons allowed them to explore new art styles and show the depth of the potential that photography had to offer for artists.

New Objectivity

Photography continued to develop as an art form for the next two decades. The mainstream focus was on realistic photography that did not involve touch-ups or post-processing. There was still a strong rejection of the photographic styles of the 1850s.

New objectivity continued this trend and moved it forward. Photographs were still to be composed in the lens and not touched up or cropped it all, but they now took more experimental looks at their subjects.

Styles that grew out of New Objectivity, like Constructivism, sought to take photographs of everyday objects and change how people view them. Edward Weston’s Dunes, Oceano is one of the clear examples of these new trends in photography.

The Work of Ansel Adams

Ansel Adams grew out of the New Objectivity style. His photography helped plant the seed that would grow into the National Parks system. Ansel Adams also foresaw changes that were coming to photography.

The biggest one was that Ansel Adams was not afraid to alter his photographs. He used extensive touch-ups in post-production to make his photos recreate his experience rather than the cameras.

Art Photography Begins to Experiment with Form

The age of Rayogrpahs, Vortographs, and Photograms bloomed shortly after 1916. This was a new focus on the photograph as an artistic medium. Photographers began to experiment with post-production and editing techniques.

New kinds of film were developed as were strange new styles. Photographers began creating art photos in which there was no clear subject. These photographs were similar to abstract paintings and the art of the Dadaist movement.

This era of art photography was also deeply political. Much like the Dadaist artist that inspired it, the early age of experimental photography was expressly dedicated to liberatory politics and resisted emerging fascist movements such as the Nazis in Germany.

The Rise of Documentary Photography

The Great Depression had impacts on all aspects of fine art. One of the most notable ones was the rise of documentary style photography as its own artistic movement.

During the Great Depression, the United States government had several programs that employed countless artisans across the country. One of them involved commissioning over 250,000 photographs to be taken across the country to document life during the Great Depression.

Dorothea Lange was one of these photographers. Today, Lange is recognized as one of the greatest naturalistic or documentary photographers of all time. While this work was seen as more clerical and technical during its day, it quickly became recognized for its historic and artistic qualities.

Smartphone Photography as Art Photography

We’re going to fast forward some sixty years of history. In the year 2000, the first camera phone was released. This fundamentally changed photography by putting a camera in the hands of millions of people across the world.

Smartphone photography often has a journalistic or biographical quality to it. Most people aren’t considering their photographs to be artistic statements, but rather expressions and recordings of their daily lives. However, in 2016 the Met Art Gallery held a display dedicated to smartphone photographers.

We’re currently living through a renaissance of multiple different styles of photography. Street photography, the retro Lomography style, and digital and glitch art are reshaping how we look at this unique medium. What the future holds for photography is going to be exciting.

Author bio: Hello, my name is James Miller. I’m the founder of Photographer Touch. I’ve been photographing for the past 18 years, and my mission is to simplify this misunderstood art of taking and processing photographs I love. Find out more at https://photographertouch.com/

The post Your Guide to Art Photography History appeared first on Art Business News.

Why Colonization?

Of course, the reason for colonization of these places had more to do with the industrialization of Europe and a need for their resources than a desire to learn about their culture or art. Colonization meant taking over an area and changing their economy, religion, and social structure. Social Darwinism justified their actions as they considered these people lower in the evolutionary hierarchy and therefore more primitive than themselves.

Some Europeans were beginning to branch out their way of thinking, especially artists, and we’re looking for something different to explore rather than copying the old masters as generations before had done. Their belief in themselves as the top of the food chain, as far as social Darwinism was concerned, meant they justified their actions in taking whatever they wanted from those they colonized or other countries they deemed “primitive”. 

Modernist artists wanted to create something different from what was generally accepted by the academia of the time, and primitive art was the way to go.

Why Steal from Other Cultures?

The Western world was changing, ideologies such as capitalism and communism were rising and falling, and artists were responding to the changes by expanding the definition of art. Why did artists turn to these other cultures for inspiration in their artwork?

During the early twentieth century, many of the perceived attributes of tribal cultures and pre-Christian religions were also on the minds of Europeans, such as uninhibited spontaneity and sexual expression. Was Primitivism a way to express discontent with expected European social behavior? Dissatisfied with the limits of European art, artists enjoyed a fresh view of the art of primitive cultures, finding a sincerity they had lost.

Simplifying the Native

However, the cultures that these Europeans idealized were not ones they knew a lot about. They developed a simplistic understanding, structured by the primitivist’s desires, their lack of knowledge of other societies, and racism. Did artists also fall into this category, inspired by a simplistic view of native art?

Although Modernists used the motifs of colonialized indigenous peoples as inspiration for their break from European traditions, did they impose their meaning to the artwork they were affected by? To take a cross, the symbol of Christianity, and use it inappropriately or casually in a painting might offend some people of that faith. The reason Western Modernist artists did not think twice about appropriating other culture’s images into their art was because of the primitive label they had given them, in response to Europeans’ belief in their superiority.

What Made it Primitive Art?

Primitive stylistic traits, as defined by Europeans of that time, included simple outlines, symbolic signs, distorted figures, and repetitive patterns. Copying these things into their artwork didn’t make their finished products African or Asian, but it did make them very different than traditional European art that was acceptable at that time.

Credit Where It’s Due

Does the inclusion of other culture’s motifs create an entirely new style or genre of art, or do we simply continue to call it European art because of the artist’s nationality? Picasso’s Les Demoiselles d’Avignon is not completely African, but it isn’t completely European either. Yet abstract art and cubism are accredited to Western evolution.

African masks, for instance, with their non-realistic and symbolic human or animal forms, had been using abstract shapes and forms before this time but did not achieve the status of changing history as cubism artists did after copying their style. Is this because Africa was not considered as evolved by the Westerners of the time? If Europe had invented the fork, only after seeing it used in one of their colonized countries, would it still be attributed to them? This is a part of cultural appropriation where not only does the dominant force adopt an element from a subordinate culture, but also receives credit for it.

Japanese Influence on European Art

During the Kaei era in Japan, foreign merchant ships began to visit the country, ending their national isolation, and exposing European artists to their style of art. Japanese woodblock prints were easy to reproduce and distribute and became a strong influence in modern art. Certain aesthetic properties were of particular interest to European artists such as the presentation of space, off-centered arrangements, vibrant colors, and light with no shadows.

As well, the subject of many of the prints included everyday life themes, which corresponded with the Realism movement of the late 1900s. This movement, as well as others after it, was inspired by the Japanese use of flat color in large areas of their prints, with limited graduation, which technique drew attention to the surface of their artwork. Realists used various techniques to promote pictorial constructions rather than illusionism in their paintings including rough brush strokes and textured canvas surfaces.

Henri Matisse’s Red Room and Paul Gauguin’s The Vision after the Sermon both contain large areas of flat red color. How much they were influenced by Japanese art? Again, Western artists saw things in these foreign prints that they liked and therefore began emulating them. Can the resulting art still be considered completely European, even though the artists were?

Henri Toulouse-Lautrec was influenced by Japanese prints, as seen in his painting, At the Moulin Rouge. We can compare it to the woodblock print of Japanese artist, Yoshiiku. They both have similar spatial diagonals and strong line patterns, especially in the background. These motifs are what make this painting interesting and noteworthy. The half shown figures, the colors (especially the bright green on the woman’s face), and the background, all could be inspired by Asian or other cultures’ artwork. The woman with the green face reminds us of a mask, perhaps an African mask. Perhaps it was a reference to her social standing as compared to colonized indigenous people, in the hierarchy of social Darwinism. Other artists who also used Japanese aesthetics in their artwork include Vincent van Gogh, Paul Gauguin, and Degas.

The Art Nouveau artists liked the decorative quality of Japanese images, with artists such as Aubrey Beardsley incorporating their style into his artwork. His illustration, The Peacock Skirt, has the same graceful curving lines and delicate patterns as Japanese prints. Comparing his use of natural patterns and imagery to Japanese woodblock prints, with their strong line elements, could also have influenced his choice of focusing on line drawing.

Other Cultures That Were Stolen from Africa and Oceanic Colonies

Pablo Picasso’s Les Demoiselles d’Avignon, incorporated elements from other cultures. Some of the women’s faces were based on African or Iberian sculpture, which may also have represented their status in society (women working in a brothel) as equal to the primitive colonized peoples, according to the social hierarchy of the times. Picasso collected African and Oceanic artifacts, like many people of that time. Did people’s collections emphasize their feelings of ownership of the art and serve as permission to copy such motifs? Also, because of the anonymity (artists of Africa and the Oceanic did not always sign their pieces, and were not singled out by Westerners) of their artwork, and because it was labeled Folk Art, did European artists have an easier time rationalizing their plagiarism? 

Henri Matisse was another artist influenced by African sculpture. He found that African art techniques of simplification increased emotion without always being realistic. This description could also be used for other modern art movements such as cubism and abstract art. Some of Matisse’s works show simple structures and lines. La Danse, from 1909, with nude figures dancing, painted with little detail or attention to proportions, makes us think of a tribal ritual or dance. Was this painting in some way showing a celebration of nature? Was Matisse celebrating his new freedom in creating artwork that rejected the conventional models?

Artistic Movements That Were Influenced by Other Cultures

Other artistic movements affected by other culture’s artwork were the German Expressionists, the Dadaists, and the Surrealists. All incorporated stylistic elements from the artifacts of Africa, Oceania, and the native peoples of the Americas.

Cultural appropriation is the adoption of some specific elements of one culture by a different cultural group. The use of another culture’s art as inspiration or a guide for artists trying to break away from conventional European art would fall into this category. The artifacts shipped to Europe after colonization could have been important religious or sacred items for the indigenous cultures. Western colonizers of that time did not respect such local traditions and generally attempted to convert their settlements to Christianity.

However, the term cultural appropriation does not seem completely correct in the aspect of art, since it suggests that their culture was stolen from them. Can a place’s culture be stolen through sculptures and artifacts? Other actions on the part of Western colonizers crushed and replaced indigenous cultures, confirming that stolen artifacts alone do not doom cultural survival.

As well, European artists did not integrate the same meaning behind the stolen artifacts into their own culture (the religious or traditional beliefs or uses), rather the Modernists generally just used the motifs they liked. Perhaps exploitation would better fit the European’s actions. They used the aesthetics of another culture to their advantage and ultimately received credit for it. However, the ideas and images of Modernists might not have been explored if not for the colonization of other countries, and the exportation of their art and artifacts.

Perhaps it is not wrong to borrow motifs and ideas from other cultures, as long as respect is paid to their origins and permission is obtained. We are inspired by everything and everyone around us, but we should be careful not to use our advantages to appropriate other people`s or culture`s ideas in a way that they would not approve of or without giving credit. These works were also used in a propaganda sense, as they showed Europe’s dominion over their colonized areas. This wasn’t a new idea, as art has been used as propaganda throughout history.

Works Cited:

Hegel Goutier, Picasso and the African Masters, The Courier, 9 (December/January/February 2009): retrieved 12 April 2010.

Ian Chilvers. Primitivism, A Dictionary of Twentieth-Century Art. 1999. Encyclopedia.com, 18 April 2010

Henri Matisse, retrieved 14 April 2010. Kleiner, Fred, and Christin Mamiya. Gardner’s Art Through The Ages, 12th ed. California: Wadsworth, 2005.

Primitive Art, Art and Popular Culture, 2010. The Art and Popular Culture Encyclopedia, 1 February 2010.

Primitivism, Art and Popular Culture, 2010. The Art and Popular Culture Encyclopedia, 4 February 2008

About the author: Diane H. Wong used to be a business coach. Besides, she is a writer at DoMyWriting where she prefers to spend her spare time working out marketing strategies. In this case, she has an opportunity to share her experience with others and keep up with advancing technologies.

The post Modern Art and Cultural Theft appeared first on Art Business News.

The history of art is as old as the history of humans on Earth. Art developed when prehistoric people started drawing on the cave walls for different reasons. It started in the stone age when our ancestors learned how to make different objects like arrows and bowls out of stone first. After that, it took off.

The word “art” is derived from the Latin ars, which originally meant “skill” or “craft.” These meanings are still primary in other English words such as “artifact” and “artisan.” The meanings of “art” and “artist,” however, are not so straightforward. We understand art as involving more than just skilled craftsmanship.

When asked this question, students typically come up with several ideas. Much art is visually striking, and in the 18th, 19th and early 20th centuries, the analysis of aesthetic qualities was indeed central in art history. During this time, art that imitated ancient Greek and Roman art was considered to embody a timeless perfection. Art historians focused on the so-called fine arts—painting, sculpture, and architecture—analyzing the virtues of their forms. Over the past century and a half, however, both art and art history have evolved. With time and space, and even new ideas.

The world of art is dedicated to serving the intellectual, spiritual, and social demands of an individual and a diverse community. It is an early microcosm of the early modern art world we now live in. At times it seemed like a club ruled by institutions and high-powered individuals, collectors, consultants, and board leaders that ultimately defined what is important.

Art emphasized originality, creativity, and imagination. This reflects a modern understanding of art as a manifestation of ingenuity of the artist. This idea, however, originated five hundred years ago in Renaissance Europe and is not directly applicable to many of the works studied by art historians. In the case of ancient Egyptian art of Byzantine icons, the preservation of tradition was more valued than innovation. While the idea of ingenuity is certainly important in the history of art, it is not a universal attribute of the works studied by art historians.

All this might lead one to conclude that definitions of art are subjective and unstable. One solution is to propose that art is distinguished primarily by its visual agency, that is, by its ability to captivate viewers. Artifacts may be interesting, but art has the potential to move us — emotionally, intellectually, or otherwise. It may do this through its visual characteristics, expression of ideas, craftsmanship, ingenuity, rarity, or some combination of these or other qualities. How art engages varies, but in some manner, art takes us beyond the everyday and ordinary experience. The greatest examples attest to the extremes of human ambition, skill, imagination, perception, and feeling. As such, art prompts us to reflect on fundamental aspects of what it is to be human. Any artifact, as a product of human skill, might provide insight into the human condition. But art, in moving beyond the commonplace, has the potential to do so in more profound ways. Art, then, is perhaps best understood as a special class of artifacts, exceptional in its ability to make us think and feel through visual experience.

Thinking back, we are all born with tastes and preferences. Art appreciators know that those opinions make art fun! One of art’s goals is to create conversations that share perspectives and cultures across borders. It helps us share the world through collective eyes. The truth is that artists, and the art they create, lie on a path that they created and follow.

Visual art is as diverse as music in its offerings, but artists and insiders are the only ones that see that. A cultural redefinition and demystification of art is necessary to truly recognize art’s true potential in modern culture.

For us, art history books remain a viable source of information. We search for specific artists who find one that does have a color, come from a different region of the world, or even have an art history outside the region. Topic-based books might be more inclusive, but they focus on a single subject. To understand how their particular artist or movement connects to others is a herculean task we might want to face and understand.

In fact, ultimately, art is basically how we share our experiences with the world. Art is a range of activities people do to express their thoughts, ideas, and emotions. It is a way to portrait the concepts that can’t be expressed by words, that aim to create powerful emotional connections between several cultures with different values.

Technology is providing more opportunities than ever before for artists to get their names out there. Visual art learning is reliant on a complex system of perceptual, higher cognitive, and motor functions, thus suggesting a shared neural substrate and strong potential for cross-cognitive transfer in learning and creativity. From prehistoric times, visual art has been a form of communication deeply imprinted in human nature; the act of experiencing art and esthetic appreciation in the “receiver” also has the power of cross-cognitive effect any time during individual development.

The ability to tolerate ambiguity and uncertainty during the creative process is an important mental trait. The tolerance for ambiguity is also an important attribute in learning in order to deal with the complexities and ambiguities of knowledge.

All too often, the arts are marginalized in our schools. In response to this marginalization, educators have sought to justify the arts in terms of their instrumental value in promoting thinking in non-arts subjects considered more important, such as reading or math. There has been little convincing research that the study of the arts promotes academic performance. Art classrooms might be choosing the visual arts as their point of departure.

And that departure can be from the past to the future.

Evidence shows that in the first period of recording history, art appeared through the first official written language. In the civilizations of Mesopotamia language was based on how clay tablets are used to record alphabets. People developed their special writing language on papyrus papers. Civilizations of Egypt and Mesopotamia created their enormous art with bold artworks such as Ziggurats and the Great Pyramids.

Romans and Greeks created another aspect of art when they started drawing human models while other artists used nature subjects as their art models.

Modern art was with the Art of Antiquity published by Winckelmann in 1764. Modern art slowly began to gain traction in the late 18th century and rose in popularity in the late 19th century.

From then until now, art continues to evolve by the day and found new meanings every time. In the 21st century, art is not just limited to drawings and sculptures. Everything from photography to an electronic product can have art infused into it.

In fact, a hundred years ago, consumer market research was a massive undertaking. Today, it couldn’t be easier. Thanks to the hard work of market research pioneers like those profiled above, modern solutions like Attest are able to combine all the learnings of the last 10 decades.

Market research no longer has to be a long and costly process carried out by academics. These new tools mean any person, in any brand, can ask their target customers questions and get actionable insights in the space of a few clicks.

Whether it is street art, sculpture, drawings, pop art, contemporary, realistic, abstract, maximum, or minimum, art today is the same as before. But with learning and understanding developed, new ideas and references to the time we first learned about art and what we might use.

Today, art is art. It is what we can use. It is what we can enjoy. It is what we learn. It is what will make us the new artist we want to see and become. The art industry is an ever-changing industry filled with vision, beauty, and purpose in its highest form. It is in constant change and evolution and we see better creation as we progress.

____________________________

About the author:

Ron Rossi is an international writer, editor, as well as an art consultant with extensive experience writing articles on art and history, as well as working with collectors, galleries, museums, and art foundations. He has traveled the world and is writing a book on living in China managing an art gallery.

The post Art History and Learning: A New Way to Understand the Future appeared first on Art Business News.