Value of Art

The article deals with the value-semantic, communicative and cultural aspects of the phenomenon of the art fair being defined as a space for updating the works of contemporary artists and the exchange of ideas and senses, considering historical preconditions for appearing of the art fair. It analyzes art fairs as the most various level of the modern stage of art market development. Based on Art Basel study, it identifies substantial changes of contemporary art fairs which contributed to the formation of a new model of the art market at the beginning of the 21st century. The new role acquired by the art market due to its unifying nature has been noted. The author reviews the cultural specifics of art exhibitions, galleries, the value of art works, the formation of artistic tastes of people as well. The importance of studying and considering of the art fairs for understanding of the new model of art market development is substantiated. The article outlines perspective directions of fu...

This chapter is based on more than a decade of art world research in Singapore but offers a single case of a composer who has composed a work for an orchestra. This study presents the creative reputation dilemma faced by many artists who attempt to be more entrepreneurial. Most countries promote their creative economy, and that has generated a class of artist entrepreneurs or 'artrepreneurs'. Professional artists are encouraged and challenged to be economically independent and also to make their practice more profitable. For many artrepreneurs, maintaining their creative reputation comes with emotional costs. The thick description in this chapter demonstrates how an artist negotiates with the patron in finalising a new piece of commissioned music. But they failed to close the deal. This case deviates from studies that focus on successes in the creative industries. Creativity entails experimentation and creating new things, but new things may not be well-received. Nonetheless, these 'unsuccessful' works are part of the art world and contribute to creating cultural value in society.

A problem of perfection at art is analyzed in the article according to paradigm of the art market as a system of cultural, economic and social interactions of the art world. The author finds out the vitality of the artwork not only as its essential value but also defines the idea of its imaginary vitality. The latter is created by the art market participants, and it causes the commercial value of the artwork.
The article makes an assumption about the division of art, at least of the Modern and Contemporary history, into two spheres — the art of “aesthetic experience” and the art of “commercial success”. While the art of “aesthetic experience” is aimed at finding and creating a new artistic language (the embodiment of new creative ideas, complex ethical and aesthetic problems), the art of “commercial success” follows artistic stereotypes, uses creative innovations in an adapted form, which is included in the cultural and aesthetic system familiar to the audience of art. This antithesis is analyzed in the article by the example of comparing a number of works by two artists of the same time. One is Mikhail Larionov, a prominent artist of the Russian Avant-Garde, and the other is Vladislav Izmailovitch, a typical representative of Salon and Late Academic art. Considering the specific historical aspects of vitality in art, the author analyzes several examples. Firstly, the late oeuvre of the Russian artist Ilya Repin as a metaphor for the “joy of the risen”. Secondly, the Easter rarities of the House of Faberge, which have changed their status over the past century from a home memorabilia to a cultural myth and became an object of the art market nowadays. Thirdly, the exposition of the Russian pavilion at the Venice Biennale of Contemporary Art in 2019, where authors and curators exploited the vitality of Dutch and Flemish art of the 17th century as the personification of contemporary creative pursuits. / В статье проблема совершенства искусства анализируется в контексте художественного рынка как феномена культуры. Автор раскрывает витальность не только как неотъемлемую ценность (внутреннее качество) произведения искусства, но и формулирует представление о витальности мнимой, создаваемой участниками художественного рынка, где витальность предстает как фактор коммерческой ценности художественного произведения.
Высказывается предположение о разделении искусства, по крайней мере Нового и Новейшего времени, на два русла: искусство «эстетического переживания» и искусство «коммерческого успеха». Первое направлено на поиск и создание нового художественного языка (воплощение новых творческих идей, сложной этической и эстетической проблематики). Второе следует художественным стереотипам, где творческие новации используются в адаптированном виде, включаясь в привычную для аудитории искусства культурно-эстетическую систему. Эта антитеза анализируется в статье на приме
ре сопоставления ряда работ двух художников одного времени: одного из столпов русского авангарда Михаила Ларионова и «обычного» представителя русского позднеакадемического и салонного искусства Владислава Измайловича.
Рассматривая конкретно-исторические проявления явленности жизни (витальности) в искусстве, автор анализирует несколько примеров. Во-первых, позднее творчество русского художника Ильи Репина как метафору «радости воскресшего». Во-вторых, пасхальные раритеты фирмы Фаберже, изменившие свой статус за истекшее столетие от домашнего мемориала до культурного мифа, который и является ныне предметом арт-рынка. Во-третьих, экспозицию российского павильона на Венецианской биеннале современного искусства 2019 года, в которой авторами и кураторами эксплуатировалась подлинная витальность нидерландского и фламандского искусства XVII века как олицетворение современных творческих поисков.

As is the case with almost every work, this one is very much indebted to many people. My deepest debt of gratitude is owed to Prof. Aurora Teixeira, a prominent thinker who has influenced me profoundly. This dissertation was largely possible due to her support, continuous supervision and constructive comments which greatly benefited the research conducted. I would also like to express my deepest gratitude to my colleagues, Luís Pinheiro, Diana Falcão and Hélder Ferreira, who held me accountable and challenged me to create a work that was worthy of my effort and dedication. To all, my heartfelt thanks.

Many films are produced annually, but only a small number of films reach the state of being considered and identified by consumers as film brands. Film-brand identification is difficult to achieve, but it leads to engagement behaviours (e.g. repetitive viewing, positive word-of-mouth and purchase intention of relevant merchandise/franchise). To help filmmakers better develop films as brands and benefit from their brand status, this paper takes a consumer-centric approach to investigate how and why films are identified and engaged by consumers as brands. Using an abductive mode of reasoning, a consumer film-brand engagement framework was developed through qualitative data collected from 35 semistructured interviews and then validated using survey data with 1030 participants. This consumer film-brand engagement framework shows that film identity coherency drives film-brand identification through the mediation effects of popularity, sequels and emotional bonding, whilst marketing effort, iconic status, franchising/merchandising activities and timelessness are highlighted as key moderators, resulting in positive brand engagement behaviour. The paper sheds new light on film-branding literature by theoretically explaining and empirically showing a sequential and consolidated process, which consumers go through to identify and engage with films as brands, leading to several managerial and marketing implications for film-makers. Research and European Journal of Marketing. Her main research interest is branding at different levels and entities, including product, corporate and institution.

Արվեստի գործի գնահատումը հանդիսանում է  մշակութաբանական փորձագիտական ոլորտի արդիական խնդիրներից: Ապրանքագիտական ստույգ վերլուծությունները չեն մեկնաբանում արվեստի ստեղծագործության իրական արժեքն ու գինը: Որքան էլ ընդունենք, որ արվեստի նմուշը շուկայում դառնում է ապրանք, միևնույնն է, այն լիարժեք նման բնորոշմամբ չի ընկալվում։ Արվեստն առնչվում է մարդկային հույզերի, կյանքի, զգացմունքների, գաղափարների և հոգևոր աշխարհի հետ, որն էլ իր հերթին ուժեղացնում է սուբյեկտիվիզմի գործոնը։ Հետևաբար, այս պարագայում գործ ունենք ոչ նյութական, անչափելի արժեքի ևորոշելի նյութական գնի հետ։ Սույն հոդվածում ներկայացվում է կերպարվեստի ստեղծագործությունների այն բոլոր հիմնական չափորոշիչները, որոնք ազդում են արվեստի նմուշի գնագոյացման վրա, ինչպես և, որոնք անհրաժեշտ է հաշվի առնել մասնավորապես մշակութաբանական փորձաքննությունների կատարման ընթացքում։ Հոդվածում անդրադարձ է կատարվել նաև մշակութային ոլորտը կարգավորող օրենսդրական դաշտում առկա որոշ բացթողումների, որոնց առնչությամբ, հաշվի առնելով հայ արվեստի, մշակութային շուկայի առանձնահատկությունները և միջազգային փորձը, ներկայացվել են առկա մեթոդաբանական մոտեցումների վերլուծություններ։

This chapter is based on more than a decade of art world research in Singapore but offers a single case of a composer who has composed a work for an orchestra. This study presents the creative reputation dilemma faced by many artists who attempt to be more entrepreneurial. Most countries promote their creative economy, and that has generated a class of artist entrepreneurs or 'artrepreneurs'. Professional artists are encouraged and challenged to be economically independent and also to make their practice more profitable. For many artrepreneurs, maintaining their creative reputation comes with emotional costs. The thick description in this chapter demonstrates how an artist negotiates with the patron in finalising a new piece of commissioned music. But they failed to close the deal. This case deviates from studies that focus on successes in the creative industries. Creativity entails experimentation and creating new things, but new things may not be well-received. Nonetheless, these 'unsuccessful' works are part of the art world and contribute to creating cultural value in society.

Introduction in the publication The Trouble with Value: Art and Its Modes of Valuation

Published on the occasion of The Trouble with Value exhibitions at Bunkier Sztuki Gallery of Contemporary Art, Kraków (15.12.2017–21.3.2018) and Onomatopee, Eindhoven (21.4.–27.7.2018).

The Trouble with Value discusses the symbolic and economic value that a work of art holds, being a product of its maker’s labour. The dynamic compilation of theoretical texts, essays and artistic contributions provides insight into current notions of value and value systems, and considers everything from the role of language to the circulation of art, and how it’s aided by the infrastructure of institutions. Along the way, The Trouble with Value tackles the historical legacies of de-/valuation in art, the value of artistic labour, and art’s capacity to tell stories beyond mainstream channels of dissemination.

Published by Onomatopee 2020

ISBN 978-94-93148-20-8

Edited by Kris Dittel

Contributing authors: Benera and Estefán, Rachel Carey, Kris Dittel, Fokus Grupa, gerlach en koop, Sława Harasymowicz, Monique Hendriksen, Femke Herregraven, Arnoud Holleman, Maria Hussakowska- Szyszko, Anthony Iles and Marina Vishmidt, Kornel Janczy, Aleksandra Janus and Karolina Grzywnowicz, Kra Kra Intelligence Cooperative, Gert Jan Kocken, Sarah van Lamsweerde, Ewa Partum, Arkadiusz Półtorak, Krzysztof Siatka, Mladen Stilinović, Maciej Toporowicz

Copy editor: Clementine Edwards

Design: Agata Biskup

In 2018 three fairy tales thematising the animal character of the whale were published in Slovak literature for children: A. Gregušová – Gréta [Gréta]; A. Macho a P. Kavecký – Gerda. Príbeh veľryby [Gerda – The story of the whale]; A. Cvečková – Je veľryba veľká ryba? [Is the whale a big fish?]. Reader’s success and sale of these books were also ensured by their noticeable promotion and graphic design. These books are not the first Slovak fairy tales that reflect this animal character. A fairy tale Ema a ružová veľryba by M. Lazárová was published in 2014 and a book Jonáš a veľryba by D. M. Bagínová was published in 2012. The aim of the paper is to evaluate in literary-critical way the quality of the books and, on that basis, to formulate partial conclusions in relation to the problem of artistic value, triviality, thrash and kitsch in literature for children and youth.

V roku 2018 vyšli v slovenskej literatúre pre deti tri rozprávky tematizujúce animálnu postavu veľryby: A. Gregušová – Gréta; A. Macho a P. Kavecký – Gerda. Príbeh veľryby; A. Cvečková – Je veľryba veľká ryba? Čitateľský úspech a predaj daných kníh sa zabezpečil aj ich výraznejšou propagáciou a grafickou stránkou. Nejde však o prvé slovenské rozprávky, ktoré zobrazujú túto zvieraciu postavu. V roku 2014 vyšla rozprávka Ema a ružová veľryba od M. Lazárovej a v roku 2012 titul Jonáš a veľryba od D. M. Bagínovej. Cieľom príspevku je literárnokritické zhodnotenie kvality uvedených kníh a na základe toho formulovať čiastkové závery vo vzťahu k problému umeleckej hodnoty, triviality, braku a gýča v literárnej tvorbe pre deti a mládež.

The paper criticises the current online trend of praising all children‘s books without first reviewing them critically. According to the author, pseudocritical online reviewers are either incapable of telling a good book from a bad one or the glowing reviews were arranged by publishers. At any rate, by continuing this practise pseudocritical online reviewers are doing books as well as children a disservice.

En 1905, los visitantes de museos de talante conservador se escandalizaron ante las pinturas de Matisse, Derain, Vlaminck y sus amigos; y, de ahf, la popular-idad posterior del termino les fauves (las fieras) con que estos artistas fueron conocidos. Basta contemplar estas pinturas exquisitamente decorativas para darse cuenta de que el termino Jauvismo nada refleja de las ambiciones o de los conceptos que informan el arte fauve. La denominacion de fieras es la mas desafortunada descripcion que de estos artistas haya podido hacerse, y da, de hecho, una idea falsa del movimiento que aquf vamos a tratar. A Matisse y a sus amigos les llamaron fauves por primera vez cuando expusieron juntos en el Salon d'Automne de Paris en 1905.

Досліджено арт-ринок як ціннісно-смисловий простір актуалізації мистецтва, визначальні засади якого розглянуто крізь призму теорії спонтанного порядку. Ця концепція була запропонована лавреатом Нобелівської премії з економіки Фрідріхом Гаєком в контексті розробки потенціалу ринкової системи, яка суттєво вплинула й на способи презентації та обіг арт-творів у другій половині ХХ – початку ХХІ століть. Упроваджено базову концепцію філософії економіки для культурологічного дослідження арт-ринку. В якості джерел використано українські та іноземні наукові, оглядово-аналітичні статті, які сприяють новому розумінню сутності сучасного мистецтва та мистецтва загалом. Концепція спонтанного порядку мистецтва розглянута на основі дослідження Пола Кантора і Стівена Кокса, а також наукової розвідки Троя Кемпліна. Проаналізовано арт-ринок як простір циркуляції ідей та смислів і функціонування мистецтва для задоволення інтересів численних суб’єктів (художні галереї, художні ярмарки, бієнале, митці, експерти, колекціонери, артдилери). Виявлено причину зростання ролі арт-ринку у ХХ–ХХІ століттях, яка зумовлена особливістю сучасного мистецтва і потребою нового простору його функціонування. Сучасний арт-ринок відповідає ідеї спонтанного порядку як організаційними умовами, так і природою сучасного мистецтва. Виявлено необхідність поступової переорієнтації зі «свідомого порядку», в рамках якого творча діяльність регулювалась через гільдії, художні академії, офіційні галереї, до спонтанного порядку. Обґрунтовано потенціал застосування концепції спонтанного порядку в контексті вивчення арт-ринку як ціннісно-смислового простору. Такий підхід дає змогу нової інтерпретації арт-ринку, який розглядається у вітчизняній науковій думці в контексті економічної науки (наприклад, ціноутворення), в першу чергу, з урахуванням смислів і цінностей, що виникають під час актуалізації мистецтва завдяки можливостям арт-ринку. Тому одним з призначенням сучасного артринку визначено демонстрацію, обговорення і надання сенсу творам мистецтва. Доведено, що наразі ці процеси здійснюються без втручання і централізованого регулювання (як це було б в рамках концепції «свідомого порядку»), адже однією з основ арт-ринку можна розглядати спонтанний порядок, який є суттєвою силою ринкового потенціалу і певним чином відповідає природі мистецтва. Саме це заперечує будь-яке навмисне втручання

The art market as a value-semantic space of art actualization is studied, the defining principles of which are considered through the prism of the theory of spontaneous order. This concept was proposed by Nobel Laureate in Economics Friedrich Hayek in the context of the potential of the market system development. It significantly influenced works of art presentation and circulation in the second half of the 20th and early 21st centuries. The author has introduced the basic concept of the philosophy of economics for culturological research concerning the art market. Ukrainian and foreign scientific review and analytical articles are used as sources. They contribute to a new understanding of the essence of contemporary art and art in general. The concept of spontaneous art
is considered on the basis of research made by Paul Cantor and Stephen Cox, as well as scientific research by Troy Camplin. The art market was analyzed as a space for the circulation of ideas and meanings and the functioning of art to fulfill the interests of many objects (art galleries, art fairs, biennials, artists, experts, collectors, art dealers). The reason for the growing role of the art market in the 20th and 21st centuries was found, which is due to the peculiarities of contemporary art and the need for a new space for its operation. The modern art market corresponds to the idea of spontaneous order both in organizational conditions and in the nature of contemporary art. Thus, there was a need for a gradual reorientation from the "conscious order", in which creative activity was regulated through the guilds, art academies, official galleries, to a spontaneous order. The potential of application of the concept of spontaneous order in the context of studying the art market as a valuesemantic space is substantiated. This approach allows a new interpretation of the art market, which is considered in Ukrainian science in the context of economics (for example, pricing), primarily
taking into account the meanings and values that arise during the actualization of art due to the possibilities of the art market. Therefore, some purposes of the modern art market are to demonstrate, to discuss and to give the meaning to works of art. It is proved that these processes are currently carried out without intervention and centralized regulation (as it would be within the concept of "conscious order"), because one of the basis of the art market can be considered as a spontaneous order, which is a significant power of market potential and in a certain way corresponds to the nature of art. This is what denies any deliberate interference.
Keywords: art market, spontaneous order, art, creativity, actualization, artistic values, semantic space.

The article deals with the value-semantic, communicative and cultural aspects of the phenomenon of the art fair being defined as a space for updating the works of contemporary artists and the exchange of ideas and senses, considering historical preconditions for appearing of the art fair. It analyzes art fairs as the most various level of the modern stage of art market development. Based on Art Basel study, it identifies substantial changes of contemporary art fairs which contributed to the formation of a new model of the art market at the beginning of the 21st century. The new role acquired by the art market due to its unifying nature has been noted. The author reviews the cultural specifics of art exhibitions, galleries, the value of art works, the formation of artistic tastes of people as well. The importance of studying and considering of the art fairs for understanding of the new model of art market development is substantiated. The article outlines perspective directions of further culturological research of the art market and art fairs.
The performed analysis of the international art fair Art Basel shows the approval of the fair model of the art market due to the globalization processes, the formation of a new leisure culture and the need for a new way of art actualization.
Keywords: art fair, art market, Art Basel, gallery, exhibition, context, artistic value.

Стаття присвячена ціннісно-смисловим, комунікатив-ним та культуротворчим аспектам художнього ярмарку, який визначено як простір актуалізації доробків сучасних митців та обміну ідеями й смислами. Звернено увагу на передумови становлення цього фено-мену. Художні ярмарки розглянуто як визначальний рівень сучасного етапу розвитку арт-ринку. На основі Art Basel виявлено сутнісні змі-ни художніх ярмарків сьогодення, які сприяли формуванню нової мо-делі арт-ринку початку ХХІ ст. Відзначено, що художній ярмарок на-був нової ролі в контексті сучасного арт-ринку завдяки об'єднавчому характеру події. Автором також здійснено огляд культурологічної специфіки художніх виставок, діяльності галерей, надання цінності творам сучасного мистецтва, формування художніх смаків людей. Обґрунтовано важливість вивчення та осмислення художніх ярмар-ків для розуміння нової моделі розвитку арт-ринку. Сформульовано перспективні напрями подальшого культурологічного дослідження арт-ринку та художніх ярмарків. Проведено аналіз міжнародного ху-дожнього ярмарку Art Basel, який показує утвердження ярмаркової моделі арт-ринку завдяки глобалізаційним процесам, формуванню новітньої культури дозвілля та потребі нового способу актуалізації мистецтва. Ключові слова: художній ярмарок, арт-ринок, Art Basel, галерея, виставка, контекст, художня цінність.

Художественные ярмарки в контексте современного этапа развития арт-рынка
Статья посвящена ценностно-смысловым, коммуникативным и культуротворческим аспектам фе-номена художественной ярмарки, который определен в качестве пространства актуализации произведений совре-менных художников и обмена идеями, смыслами. Проанализированы художественные ярмарки как определяющий уровень современного этапа развития арт-рынка. На основе Art Basel выявлены сущностные изменения современ-ных художественных ярмарок, которые способствовали формированию новой модели арт-рынка начала XXI века. Отмечено, что художественная ярмарка приобрела новую роль в контексте современного арт-рынка благодаря объе-динительному характеру события. Автором также осуществляется обзор культурологической специфики художест-венных выставок, деятельности галерей, предоставления ценности произведениям искусства, формирования худо-жественных вкусов людей. Обосновано важность изучения и осмысления художественных ярмарок для понимания новой модели развития арт-рынка. Сформулированы перспективные направления дальнейшего культурологического исследования арт-рынка и художественных ярмарок. Проведен анализ международной художественной ярмарки Art Basel, который показывает утверждение ярмарочной модели арт-рынка благодаря глобализационным процессам, формированию новой культуры досуга и потребности нового способа актуализации искусства.
Ключевые слова: художественная ярмарка, арт-рынок, Art Basel, галерея, выставка, контекст, художественная ценность.

Henri Matisse nació el último día de 1869, en una ardea francesa del norte. Abandonó sus estudios en derecho, para estudiar pintura y como muchos pintores conoció las limitaciones económicas. Sufrió graves enfermedades y fue sometido a peligrosas intervenciones quirúrgicas. Además, le tocó vivir  en medio de dos guerras mundiales en el siglo XX  .
Fue un artista francés que se destacó como el mejor colorista del siglo XX . Se dice, que fue rival de Pablo Picasso, Aunque eso  no se ha comprobado, pues conociendo la naturaleza de ambos pintores, sabemos que ambos tenían un carácter fuerte y se decían sin pensarlo mucho lo que pensaban.  Finalmente fueron amigos y parece que muy íntimos .
Matisse surge como Post Modernista y alcanzó la prominencia, en un principio, como el líder de movimiento Frances Fauvismo. Rechazó el cubismo y trató de utilizar el color como la base para  pinturas expresivas y decorativas.
Briseño Guerrero, en su ensayo  sobre Matisse y Latinoamérica.  expresa que, a pesar de , Matisse haber realizado  estudios en academias; aprendió a dibujar y a pintar con maestros; aceptó los instrumentos usuales; paleta, pincel caballete , composiciones naturales, naturaleza muerta, modelos vivos y que durante varios años  estuvo en el Louvre copiando las obras de grandes artistas, hasta vivió de ese trabajo.

In 1956, Nelson Goodman offers a theory of mereological nominalism, according to which there is nothing but concrete individuals.  This paper examines the relation of aesthetics to nominalism in Goodman’s philosophy and shows that Goodman’s aesthetics is a nominalist aesthetics.  This claim is justified by exploring Goodman’s theories of ‘definition of art’, ‘artwork’s content’, and ‘value of art’:  (1) in the problem of definition, art is defined by some syntactical and semantic features of works of art.  But, these features are not essential parts; (2) in the problem of content, in the case of representation of universals and non-existents and in the case of expression, it does not suppose an ontological realm, but world of individuals as the referent of artworks.  But, works of art still refer to individuals; (3) in the problem of value, although cognition – as artistic value – is common among all works of art and their relation is intrinsic, it is not unique to art.  Hence, this cannot be an essential function of art.  That Goodman’s aesthetics does not violate nominalism is itself the result of that Goodman’s theory of symbols, in which Goodman solves the aesthetic problems, does not violate nominalism.

Uncontrolled destruction and damage to the environment during the construction of the projects of the metro and transfer center (Martı Project) in the Fındıklı-Kabatas line are the most important problem that initiated this study. Demolition and construction processes also cause harm to the social memory along with the physical changes. The construction area has been covered with panels and the panels has been covered with the Devrim Erbil's paintings which depict the İstanbul's view. Art has been used as a means of memory destruction. This study focuses on the social memory of Fındıklı Park through art within the framework of the changes experienced in the districts of Kabatas-Fındıklı. When the history of the park is examined, it is read that public memory is shaped through art. Art creates the traces of memory on one side and it is the means to erase these traces on the other side. In this contradictory situation firstly, the relationship between art and memory has been questioned. Then the memory traces and the art value of Fındıklı Park as an urban space have been revealed.

惠特尼美术馆于搬迁前，选择杰夫·昆斯的大规模回顾展做为闭馆展。本文分析惠特尼美术馆做此决策的原因，提出昆斯的影响力除了源自于金融与媚俗之外，他延续了沃霍尔创造的语境，以及作品中风格正向单纯的儿童取向，是昆斯对当代艺术特有的突破与其独特的成功因素。 
Before relocation, Whitney Museum of Art chose to hold a large-scale retrospective of Jeff Koons for its closing exhibition. This article analyzed the reason of Whitney Museum of Art’s decision. Mention Koons’s influence is not only from market and kitsch. He continuing the context which Andy Warhol create and the pure positive children orientation in his work are the uniquely breakthrough he made for contemporary art, both of those are the reason he success.

The  paper  deals  with  the  problem  of  determinants  of  the  auction  prices  of  the  works  of  art.  A  special  attention  is  given  to  the  attributes  of  works  of  art  i.e.:  the  name  of  artist,  time  of  creation,  format  (size),  theme,  technique, signature and their influence on the level of auction prices. The author of the paper uses statistical methods
to verify empirically the relationship between variables. The dependences have been explained by implementation of three methods ie.: analysis of variance ANOVA, multiple regression models and classification trees, with the use of the computer program STATISTICA. The analysis is based on the cross-section data on art auction results of several auction  sessions  in  Poland.  The  empirical  studies  have  shown  that  name  of  artist,  year  of  creation  and  technique 
determine the auction prices of works of art. The influence
of technique and signature is not important statistically.

Arthur Danto's extensive body of criticism is naturally informed by his theory of art. In addition to considering his aesthetics from the standpoint of its intensive formulation in texts like the seminal " The Art-World, " or elaborations such as The Transfiguration of the Commonplace and After the End of Art, we can look at Danto's criticism holistically or cartographically. From this perspective it seems clear that the field of Danto's most intensive engagement with the arts was with those we call visual, as contrasted, say, with music, dance, and literature. Danto, of course, made no claim to have a system of the arts, in the grand style of Hegel and many nineteenth century philosophers of art. He was, after all, an avowed epistemologist rather than a " great knower " as his colleague John Herman Randall described thinkers like Aristotle, Hegel, and Dewey. Unlike them, Danto was under no self-imposed philosophical or pedagogical obligation to provide a comprehensive system of the arts. Although he sometimes compared himself to Hegel in terms of their common recognition of art's internal striving toward self-consciousness, and co-taught a class on the whole of Hegel's Lectures on Aesthetics, he had no reason to emulate that encyclopedic panorama (if we were to superimpose Danto's aesthetics on Hegel's we would find Warhol's Brillo Box in the place occupied by Shakespearean soliloquies). However, I believe that attending to some of the arts that Danto treated less frequently than others may show that he has an oblique and revealing relation to the system of the arts. In taking this line of inquiry I follow a suggestion made by thinkers like Jacques Derrida and Alain Badiou that by analyzing what philosophers exclude or marginalize that we may gain insights into the deep structure of their thought. So Danto's priority was the visual, even if he did occasionally write about literature. Beyond this, he also devoted much more attention to certain visual arts, notably painting, than to sculpture, architecture, and site-specific works (let us adopt these classifications for now, even if they turn out to be problematic). Looking over Danto's vast body of critical essays, many published in The Nation, as well as those discussed in his volumes of theory, it seems clear that painting gets the lion's share of attention, followed in descending order by sculpture, architecture, and site-specific art. In examining Danto's analysis of work that is site or place-intensive, I will attempt to articulate an overview of his concepts of monuments, memorials, other public art, earthworks, and related forms. The intention is to determine whether he has a consistent theory of art in place and how his treatment of it can be related both to his general theory of art and to the artistic canon and mainstream tradition of aesthetics inherited by his generation of Anglo-American philosophers. I Monuments, Memorials, Context Danto developed a sensitive analysis of Washington's Vietnam Veterans Memorial (VVM), designed by Maya Lin, a once controversial work that's gained increasing acceptance and respect in the thirty-plus years it's been up (or down, to be more precise). The VVM is situated within an extensive and growing complex of monuments and memorials in which the United States attempts to express and embody the meaning of its history. It is a place consecrated to permanent public art that means to embody a nation's conception of its meaningful history. Within the limits of the nation-state, no art could have a greater claim on public space. Danto's account gives full weight to the collective sorrows and regrets connected with that war and to the rather unusual way in which each dead soldier is honored with his or her name inscribed on the

Through looking at the notion of intrinsic motivation, the emergence of Internet Art, its alternative valuation system, and the new Post-Internet Art of today, this short literature review will attempt to set foot in answering the research question: to what extent has the Internet Art movement in the 1990’s affected the valuation practices of contemporary visual artists?

El Fauvismo, una de las corrientes artísticas de las Vanguardias Históricas nacidas en los primeros años del siglo XX, posee ciertas particularidades que dificultan su estudio y sistematización. Sin embargo, sus planteamientos teóricos y estéticos se encuentran en el origen de los principales ismos gestados durante esos primeros años, claves en la Historia del Arte. El epicentro de esa nueva modernidad se encontraba en París, donde acuden muchos españoles para formarse, siendo el análisis de ellos doblemente enriquecedor al permitir apreciar ideales estéticos internacionales asimilados desde una óptica propia con los particularismos inherentes a toda nación. Con todo ello, es necesario atender a la asimilación en el contexto español de un movimiento tan moderno y " fiero " en su momento como fue el Fauvismo a través de dos figuras poco conocidas pero poseedoras de un gran refinamiento cultural y creadoras de obras de una elevada calidad estética: Francisco Iturrino y Juan de Echevarría. Ambos, amigos y paisanos, descubrieron y transformaron su estilo artístico tras estancias en París y en el luminoso sur español. Además, las relaciones con afamados personajes de la cultura finisecular de nuestro país aportan un horizonte de influencias sintetizadas por cada uno de ellos de un modo original y moderno. Aunque no fueron tan aplaudidos en vida como otros artistas coetáneos y tras su desaparición tampoco fueron estudiados en el grado que merecen, las obras de ambos están presentes en importantes colecciones nacionales y en el mercado del arte, revelando su valoración un ámbito de venta nacional o internacional con precios medios y bajos.

Biografía Artista Frances, que destacó como el mejor colorista del siglo XX y fue gran rival de Pablo Picasso. Matisse emergió como Post-Modernista y alcanzó la prominencia en un principio como el lider del movimiento Francés "fauvismo". Rechazo el cubismo y trató de utilizar el color como la base para pinturas expresivas y decorativas. Decía polemicamente que trataba de crear un arte que sería " un calmante, influencia calmante en la mente, mas bien como un buen descansabrazos ". La vida y el desnudo fueron sus temas preferidos y el Norte de África fue una importante fuente de inspiración. Antes de su muerte hizo una importante contribución al collage con una serie de obras con formas recortadas de color. Fauvismo Movimiento pictórico Francés que se caracterizaba por un empleo provocativo del color. El movimiento Fauvista es estético y sentimental, ligado a las circunstancias del momento. Es mas expresivo que realista y se enfoca en plasmar los colores. Utiliza colores contrastados, sobresaliendo el cromatismo irreal. El uso subjetivo del color y la simplificación del dibujo, es una búsqueda tan dirigida al color que se olvidan de otros aspectos como el modelado, el claroscuro y la perspectiva. La técnica pictórica emplea trazos toscos y discontinuos, toques rápidos y vigorosos, aunque se cree distorsión se persigue dar una sensación de espontaneidad. Tiene la intención de expresar sentimiento, y como resultado los artistas pudieron percibir la naturaleza y lo que los rodea en función a sus sentimientos. El movimiento Fauvista defendía una actitud rebelde, un intento de transgresión de las normas con respecto a la pintura. Los temas que mas se pintaban eran: paisajes, retratos, desnudos, entre otros. El caracol Ficha técnica:-Nombre: L´Escargot-Año: 1953-Técnica: Gouache (acuarela) en papel, cortado y pegado sobre cartón fuerte.-Medidas: 2.864 x 2.87 m-Autor: Henri Matisse (Se encuentra actualmente en la Galería Tate, Londres) Técnica Después de que Henri Matisse tuvo una operación no pudo pintar como lo hacia antes, por lo tanto crea una nueva técnica que no puede catalogarse ni como pintura convencional, ni como collage a la manera cubista (aplicación de papeles a una composición que se unificaba visualmente mediante elementos pintados o dibujados). La técnica consistía en recortar papeles de acuarela de buena calidad previamente preparados con lavados opacos o semitransparentes de gouache. Sus ayudantes preparaban los papeles y los clavaban en el lugar exacto donde Henri quería. El caracol pertenece a una serie de trabajos realizados con esta técnica llamados gouaches découpées.

Das Nachwuchsforum "Kommentare zum Wert der Kunst" bietet Doktorand/innen, wissenschaftlichen Volontär/innen und anderen Nachwuchsakteur/innen im Kunstfeld die Möglichkeit, das Programm des 33. Deutschen Kunsthistorikertages 2015 in Mainz 2015 durch Fragen, Forschungsansätze und kritische Impulse zu kommentieren und erweitern.

Paul Gauguin: Su experimentación audaz con el color fue lo que colocó los cimientos para el estilo sintetista del arte moderno, mientras que su expresión del significado de los temas en sus pinturas, bajo la influencia del cloisonismo, en su obra "El Cristo amarillo· (en francés Le Christ jaune) se puede observar esta técnica, grandes zonas de color plano son delimitadas por contornos en azul o negro, el elemento primordial es el color. Gauguin llama su estilo como sintetismo ya que sintetiza la observación del sujeto con los sentimientos que provoca el artista, en paralelo con el amarillo de Cristo, se combinan amarillos, naranjas y verdes. Junto a Cristo se muestran tres mujeres bretonas en actitud reverente que ocupan el lugar histórico de las Marías en la Crucifixión. La figura de Cristo en medio del cuadro es una visión que aparece a las mujeres que están rezando. Los motivos centrales están desplazados hacia la izquierda. En el plano medio de la derecha una figura salta una valla interpretado como una evasión. Al fondo el campo bretón y casas dispersas entre los árboles. Fue el regreso al estilo pastoral (captura de la naturaleza, paisajes).

Undergraduate students (n=21) preparing for careers in early childhood and elementary education, were surveyed to determine perceptions of the value of arts education in the community and in public schools. During survey administration, preservice teachers received no information from professors regarding the importance of art education. A validated survey instrument utilizing a Likert scale was administered to subjects. Results showed that students who had taken at least one or more college courses in the area of art education responded more favorably concerning the value of art education than those who had taken no art education classes. This finding supports existing research that illustrates the benefits of art education at all grade levels.  Therefore, it is important that preservice teachers be afforded the opportunity to have optimal exposure to art education courses. This enhancement in the curriculum of preservice teachers will assist to ensure that future students, in-turn, will enjoy a teacher-planned, art –infused curriculum that will enhance academic performance.

While there are a variety of approaches to examining the valuation of digital media art, I limit my discussion to its economic valuation within the context of Western capitalist economies.  In this paper, I argue that the dematerialized and reproducible nature of digital media art requires it to have alternative models of economic valuation because the classical model of economic valuation does not effectively value digital media art.  I examine existing economic models of digital media artwork valuation and I explore unique opportunities for alternative and hybrid economic models of digital media artwork valuation.

The belief that art stands independent of the social process and that the artist is free from the obligations and standards that are part of the cultural ethos is both misguided in theory and false in fact. Yet the claim of freedom for art, not for artists alone but for the functioning of the aesthetic sphere of culture, captures the vital core of that activity. This is because the arts have the ability to engage us in experience that is rich in perceptual awareness and in resonance of meaning, and such experience always has a social aspect and social content. What the arts offer society in achieving this experience, however, can only be realized when artists are free to pursue their own course, to explore their creative perceptions and to embody them in their work. The value of a work of art, then, has a social dimension, yet it leads to a paradoxical conclusion: Only when art is free from social constraint can it make its unique social contribution.

This paper is an attempt to analyse some Bollywood movies to illustrate how the consumer culture is enhanced through the commercial ads via the medium of movies. Through product placement a commercial product is presented before the spectators in seemingly natural context. In fact, the image of a star holding the product has a different dimension of effect upon the viewers. Their eyes unknowingly catch the sight of image of the product and retain it in memory. Here, the spectator assumes the role of a consumer quite unconsciously. S/he is guided by an interaction between the signs of the ad on the screen and their perception. The creation of natural context in the film, which resembles the needs of the individual in every aspect, affects his/her mind indirectly, but effectively, forcing him/her to accept the product as capable of satisfying the needs. Thus film is an effective ‘culture industry’, a term popularised by Theodore Adorno and Max Horkheimer. But here it is not just a commodification of feelings and sentiments of which the people are passive consumers. They are also the consumers of different commercial items. The commodification of sentiments very clearly affects the mind-set of the people, thus forcing them to buy the product. Thus, the possibilities of a motion picture to reach its audience are manipulated by the companies to promote a consumer culture.

Das Thema des 33. Deutschen Kunsthistorikertages lautet: Der Wert der Kunst. In den verschiedenen Sektionen und Podiumsgesprächen des Kunsthistorikertages werden Wertbegriffe und Wertzuschreibungen in der Kunst anhand ausgewählter Werke, Praktiken, Gattungen und Theorien sowie bestimmter historischer, sozialer, ökonomischer und politischer Konstellationen konkretisiert. Das Nachwuchsforum "Kommentare zum Wert der Kunst" bietet Doktorand/innen, wissenschaftlichen Volontär/innen und anderen Nachwuchsakteur/innen im Kunstfeld die Möglichkeit, das Programm des Kunsthistorikertages durch Fragen, Forschungsansätze und kritische Impulse zu kommentieren und erweitern.

Orígenes y desarrollo (1905)(1906)(1907)(1908)(1909) El arte de Van Gogh se considera como una de las fuentes del fauvismo y del expresionismo (por ejemplo El catorce de julio). La influencia de Gauguin en el nacimiento del fauvismo también es muy notable: El caballo blanco o El Cristo amarillo llaman la atención por el elemento que el pintor reconoce como primordial en su obras: el color. Mujeres de Tahití o Ta Matete perfilan ya algunas de las características técnicas del fauvismo: riqueza cromática, ausencia de modelado, ruptura con la perspectiva clásica... Es, pues, bajo la influencia de Van Gogh y Gauguin, como también de Manet y Cézanne, que se formaron los primeros fauves, sin olvidar, la parte que aportaron las estampas japonesas y las vidrieras polícromas, dada la estima que tenían por estos objetos.

In this dissertation, I provide a philosophical analysis of public art. I focus on its “publicness,” and draw implications at the level of public art’s ontology, appreciation, and value. I uphold the view that an artwork is public when received within a public sphere rather than within artworld institutions. I further argue that, as a consequence of the peculiar nature of its reception, public art possesses an essential value that is distinctively non-aesthetic: to promote political participation and to encourage tolerance. By examining how public art and its value(s) relate to the public domain in the context of pluralistic democracies, this dissertation also contributes to a fuller understanding of an important aspect of our social world.

"In this paper I try to make sense of the idea of artistic luck,
which may be conceived by analogy to the idea of ‘moral luck’. I begin by
considering what I call artistic luck in general (§ 2). Then I discuss artistic
luck proper (§ 3) and the cases of ‘intentional’ artistic luck and improvisation
(§ 4). In § 5 I focus on the problems generated by aleatoric art. I
will conclude by endorsing Adorno’s reasonable opinion on the relation between
art and chance (§ 6)."

"The Harmonic Math, Chromatic numbers and sounds" presents a novel framework that integrates numerical systems with color representation through a unique chromatic approach based on cyclic orders. The concept revolves around the relationship between different numerical bases and their visual representations, specifically focusing on Base 7. The paper explores the mathematical properties of cyclic numbers, monotonic functions, and their implications for establishing a harmonic system that maps numbers to colors in a structured way, thereby creating a cohesive language for sounds, colors, and numbers.
For more information see the following link: https://pdpseven.wixsite.com/sound-color

I analyze the genre preferences of UK film audiences, applying correspondence analysis to data produced for the BFI’s report Opening Our Eyes on the cultural contribution of film. Although there is a weak correlation between the interactively coded variable ‘gender-age’ and genre, I identify clear patterns of genre preferences that extend the original interpretation of this data showing how viewer’s preferences for different genres are associated with their gender and their age.

Conference: Intellectbase, Nashville, TN
Paper Category: Research-In-Progress
Track: Education

KEY WORDS:
Art Education
Music Education
Art Experiences
Music Experiences
Perception of Art and Music Education



ABSTRACT

Undergraduate students (n=27) preparing for careers in a variety of majors, to include elementary, physical, secondary and special education, were surveyed to determine perceptions of the value of arts education in the community and in public schools. These preservice teachers received no information from professors regarding the importance of art education or about a seven-hour community art event in which they would participate. A validated survey instrument utilizing a Likert scale was administered to subjects as a pre-test. Following participation at the art event which allowed subjects to assist artists and community members in teaching visual arts, music, drama and dance activities, the survey instrument was administered as a post-test. No discussion regarding the arts event took place before subjects completed the post-test. Results showed significant changes in pre-service teachers’ perceptions after having the opportunity to become actively involved in teaching art education to pre-school, elementary and middle school students. The perception changes indicate the importance of preservice teachers being afforded the opportunity to become actively involved in art education during the preparatory undergraduate years. This exposure will strengthen the likelihood that new teachers across the curriculum will understand the connections between a child’s participation in the arts and the affective, cognitive and psychomotor benefits resulting.

INTRODUCTION

The importance of the arts for school children is firmly established. Dance, music, theater, and visual arts, alone or in combination, are recognized by the U.S. Department of Education (2004) as integral components of a child’s education. State and national standards are formulated to allow the arts to be recognized as “challenging subjects with rigorous content”. During the formative grades, the affective learning domain has been enhanced by art education, especially creative dramatics (Brouillette, 2010 and Deasy, 2002). Art education is strongly associated with the innovation and creativity inevitably valued by United States employers and will assist young adults as there is a “shift into a global economy” (U.S. Department of Education, 2012).

A national coalition of arts, education, government organizations, businesses and philanthropic entities comprise The Arts Education Partnership. This partnership seeks to promote art education and demonstrate the need for arts to be provided in the schools. This effort is to ensure an enhancement to every child’s “learning and development” and, in turn, improve schools throughout the United States. The work of these groups has resulted in a “Compendium” which demonstrates 65 central relationships stimulated by children’s exposure to branches of the arts: dance, drama, music, multiple arts, and visual arts. A total of 62 research studies were conducted and utilized to determine a spectrum of social and academic areas which are “valid results of learning in or engagement with the arts”. Some of these include: improvements in self-confidence, reading skills, nonverbal reasoning, creativity in poetry, social tolerance, story comprehension (oral and written), writing proficiency and prolixity, conflict resolution skills, concentrated thought, understanding social relationships, collaboration skills, educational aspirations, mathematics skills, creative thinking, achievement motivation, higher order thinking skills, and school climate (Arts Education Partnership, 2002).




PURPOSE OF THE STUDY AND METHODOLOGY

Considering the wealth of enhancements possible when schools incorporate arts education into the curriculum, it is imperative that preservice teachers understand these benefits. The purpose of the study was to determine preservice students’ perceptions of the value of art education in the community and in the public schools prior to participating in a seven-hour art education event and to examine any changes in perceptions following the experience. Subjects were 23 preservice teachers enrolled in undergraduate junior and senior level course and majoring in elementary, physical, secondary, and special education.

Prior to the art education event, a validated survey instrument utilizing a Likert scale was administered to subjects as a pretest (Figure 1). These preservice teachers received no information from professors regarding the art education event before completing the survey. The day of the art education event, preservice teachers were actively involved in assisting a variety of arts education activities which included visual arts, music, drama, and dance. Preservice teachers worked alongside artists and community members and assisted in teaching preschool, elementary and middle school children and adolescents.

Figure 1

*Click on the title of paper at the top of the page to see Figure 1 and Figure 2

RESULTS

Without discussion with preservice teachers regarding their participation in the arts education event, professors administered the survey as a post-test. Significant perception changes resulted, expressed in respondent percentages. Figure 2 illustrates the changes in preservice perceptions addressed in the survey.


CONCLUSION AND RECOMMENDATIONS

It is evident that a limited exposure to a variety of art education activities strongly influences and changes preservice teachers’ perception of not only the importance and benefits children and adolescents experience through art involvement, but also their perception of the adequacy, or lack thereof, of art education which exists in the public school. Further research is warranted to determine if the art education experienced by preservice teachers during their own formative years has shaped their perception of what art education exists in schools or if their field experiences as undergraduate students have shaped their reported perceptions. U.S. Secretary of Education Arne Duncan (2012) addresses the reduction of art education in the schools as a result of budget woes suffered across the nation. A third possibility is that the preservice teachers’ community-based, seven-hour involvement was so varied that their expectations of art education presence in the schools has been elevated. Research has clearly established the myriad of physiological, psychological and behavioral improvements experienced by students involved in art education. The Arts Education Partnership (2002) emphasizes the numerous non-arts capabilities that correlate with the motivations and abilities associated with experiences in the arts. If a one-day community art event can potentially change the manner in which preservice teachers view the importance of art education, then it is recommended that undergraduate programs integrate art education activities across the curriculum and that these teachers-to-be receive more school and community based exposure to quality art events and classes.


REFERENCES

Arts Education Partnership (2002). Critical links: Learning in the arts and student academic and social development.
Retrieved from: http://www.aep-arts.org/files/publications/CriticalLinks.pdf

Brouillette, L. (2010). How the arts help children to create healthy social scripts: Exploring the perceptions of elementary
teachers. Arts Education Policy Review, (111)1, 16-24.

Deasy, R. (2002). Critical links-Learning in the arts and student academic and social development. Washington, DC:
Arts Education Partnership.

U.S. Department of Education (2004). The importance of art education. Retrieved from
www2.ed.gov/teachers/how/tools/initiative/updates/040826

U.S. Department of Education (2012). Prepared Remarks of U.S. Secretary of Education Arne Duncan on the Report, "Arts
Education in Public Elementary and Secondary Schools: 2009-10". Retrieved from http://www.ed.gov/news/speeches/prepared-remarks-us-secretary-education-arne-duncan-report-arts-education-public-eleme



Overview