Art, artists, collectors and the gold rush

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European art compared with Indian artArt, artists, collectors and the gold rush

A clever collector apart from targeting big profit also climbs up the socio-cultural tower and is viewed as the prince charming by ordinary mortals on ground. The success with money is as daunting as failure with it. But a true collector collects for love and love alone shall prevail. To be rich is not a curse, the curse is if it makes us fall.

Fundamental to high speculative profits is near monopoly accumulation. Decades early in Delhi I knew of consortium of investors/speculators many of them in top jobs in IBM and multinationals in India who would accumulate individual company shares. When the market had risen spectacularly and they dumped them to reap high profits. It worked quite a bit. In art the accumulation principle is applied with a caveat. Each artist may produce works of differing quality and aesthetic value. Here the role of collector, art advisers, dealers and galleries becomes crucial in buying the right kind of art. Autumn joys

Collecting unsung new artists is normally low risk but may offer possibility of very high return if the collectors are able to foresee the future growth and value of particular art or artists. When Durand Ruel (1831—1922)  the French art dealer supported and collected works of  Impressionists—Claude  Monet, Degas, Renoir, Manet and Pissarro and others there was hardly a value attached to them. Impressionism was not recognized as a new art movement then. In all Durand collected thousands of works of these artists straight from their studios to the extent of going near bankrupt. People must have thought Ruel to be nuts when he bought such visionary art. It is still the largest single collection of Impressionists art. But today this collection may be worth hundreds nay thousands of million dollars.

Charles. Saatchi  known to bulk collect works by artists he thinks have potential to go big time and then off loads wholesale at right time to reap big  He collected YBA, Hirst Sean Scully etc, and got richer by millions of dollars.. Collectors of the ilk of Aby Rosen collect large number of works from an individual artist. Remember bulk ‘collections’ of known collectors are worth much more than individual works separately sold belonging to an artist.

Bulk buying is not same as herd buying. Some names become fashionable for a short time and then take long vacation. When market was booming some artists’  paintings were touted in the art circle as a good buy (mind it not as good art) and everyone was trying to buy without knowing any thing about her/his work/history or art journey or in some cases about what she/he paints.. I hear many of such artists are in dire straights and so are all those who were buying their works more like a stock market hot tip. The collectors in many cases are not  able to sell them even for 20% of the price they paid.

Nearer home in India in 80’s Badruddin Daya a shoe-business magnate would buy up whole exhibitions of artists that were yet untested at highly discounted prices. Ashish Anand of Delhi Art gallery is also known to buy up whole collections from artists. But the obverse side too, I know of many bulk buyers who have lost quite a bit by ill advised collection of junk art  or I should say only junk. But who can tell you that you have junk if you are deep pocketed dollar billionaire. What happens if the genie in bottle vanishes and has to be replaced with a fresh sea catch it still is art if the artist /collector says it. And of course other lesser mortals willingly bite the bait. I remember Bertrand Russell in one of his books on nuclear holocaust said what would happen if a mad person become President of U.S.A. who would dare tell him that and he could jolly well blow up the world.

There is uncouth speculation and possible price doctoring in art market of today. If you look  at long, very long time  it took for the art of Van Gogh , Renoir, Manet, Monet, Kandinsky, Juan Miro etc took to arrive at the millions of dollar value in comparison to the very short period it took many of the present day artist celebrities to arrive at stupendous prices—selling  for  10’s or 100’s of million dollars. (many of them have turned their art into a factory produce churned out by coolie labour and only signed by them) Imagine and compare  the creative worth of a diamond studded platinum mould of a skull with the Sunflowers by Van Gogh. Van Gogh changed our life for good with his paintings; he imbued passion, romance and freedom of soul unheard of earlier in artistic expression. What does the diamond skull proclaim other than that it required a very rich person to create it and another very rich person to buy it with no talk of virginal imagination or creativity? Unfortunately quite a few middle level artists in India have come to imitating the path of the Western current market celebrities. I would call them market celebrities for their worth—real or doctored—is seen as price leaders and not necessarily imaginative path creating art leaders. No society recognizes its boorishness, its left to later generations to recognize it.

Like the totemic cult societies of yore one of the most secretive markets in the world is art market. The mechanism of price determination is therefore one most unreliable. Who are the price players and bidders is not visible. Allegations surface that the sellers and the buyers are proxies especially in auctions. When it comes to greed of making a fast buck quite few market players are Madoff like.

There are more pitfalls in art market structure but  it definitely does not mean white winged angels do not exist. Otherwise how you have such stupendous collection of art gifted to state museums or exist in private museums. There are smaller mortals who have become legends for their visionary collections and at times against tremendous odds. Dorothy and Herbert Vogel have collected thousands of art works with their very modest incomes from jobs of a postal clerk and Brooklyn librarian. They lived in one bed room apartment and stored thousands of art works from likes of Christo, Andy Warhol and Donald Judd They gifted away all their collection to Museums all over U.S. Imagine they used one  spouse salary for their living expenses and with the other they collected art. They are a legend and to me and of course to many around the globe they are in line with Frick, Solomon Guggenheim, Rockefeller, and others who gifted so much art to humankind. I hope some of the Indian billionaires are listening.

Viktor Vijay

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Haitian Art: Most Appreciated and Recognized Form of Art in the World

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Haitian art is the perfect representation of the history and culture of Haiti. Haiti has always been known for its complex tradition, hardships and political problems. Due to the effect of colonization, the Haitian culture and history reflects the African, Catholic, tribal and Voodoo culture. Like most of the art forms, the Haitian art also focuses on daily life and day-to-day activities of the Haiti and its people. The paintings made by Haitian artists clearly depict daily life and happenings of the city. Apart from this representation, the painting of the artists reflects the steep mountains and bays of this coastal town.

Some Haitian artists were also strongly influenced by the religion and lifestyle. The religion brought by the European and the religion of the indigenous people was keenly reclined to represent it over their paintings. Haitian paintings perfectly represented the human, culture, daily activities and life of the people in the abstract human forms.

Representation of Culture and People by Talented Haitian Artists

The Haitian artists perfectly represent the culture, people and their life in the paintings. The Haitian artists to depict most of the paintings used primary colors. Haitian art is one of the known arts which had used the most prominent and vibrant colors to depict intensely the life and culture of Haitian. Haitian artists are acknowledged for their all-around talent and creativity in their art. They are known to craft amazing Haitian paintings, Haitian sculptures, wood sculptures, wood and metal cravings, voodoo flags, art posters and metal art along with media drawings.

Despite misery and poverty, Haitian artists have depicted the joyfulness of the people in their painting. They display the culture of the people who include different shades of life. Haitian paintings are known to perfectly express the history, the landscape, the beauty, the struggles, the joy and daily activities of the people. Haitian art includes lot many things such as paintings, Haitian sculptures (both wood and metal), basket weaving, pots, recycled metals, sequined Voodoo flags, murals and canvas.

Know How Haitian Art Emerged

The beginning of remarkable Haitian art was in the year 1943. De Witt, an American English teacher, was the first person that has marked a remarkable step in the emergence of Haitian art. He had a passion for painting using especially the watercolor and he started making the paintings to depict the life of poor peoples. Seeing the poverty of the people had made him to offer a place where these poor people can showcase their talent fully. In this manner, he gave a platform to all inspired painters to help them develop their creativity in order to earn their livelihood.

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Acting: Is It Art or Craft?

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You’re an actor – or on your way to becoming one. Do you think of yourself as an artist? Or do you regard acting as a craft? The difference between arts and crafts has been hotly debated for a very long time, especially in the visual arts. What does the distinction mean in the world of acting?

The difference between art and craft is partly a product of recent times and is often tied to modern aesthetic judgements. If you like it a lot it’s art. If you want to put it down, call it craft. Alternatively, you might think of the amateur actor as a craftsman and the professional, who has had acting training, as more of an artist. Some might even argue that the art of a dramatic work lies mainly in the writing and direction, and that actors are largely craftspeople who deliver the artistic product. But there are other ways you can see it.

A useful way of distinguishing art and craft is to think of craft as something that potentially anyone can learn. It’s that component of your capacity as an actor that is developed through teaching, by learning methods and techniques (at drama school and in acting training) and honing those techniques in practice. Artistry is harder to pin down, but typically refers to that indefinable quality that exceptionally skilled or gifted people possess. It’s what Robert De Niro or Cate Blanchett have in spades and a lot of other actors don’t possess to the same degree. No doubt that is what you aspire to in your acting career.

There are other ways of looking at the art : craft distinction as well. You can think of the art of acting as a question of individual style. Someone who not only masters a technique but also makes it his or her own might be regarded as an artist rather than a craftsperson. Art is what happens when it you have mastered your craft and are able to add something that is uniquely yours. Each of your performances is larger than the sum of its parts and we can call the difference ‘artistry’.

Wherever you stand in this endlessly arguable debate, most people agree that there is no art without craft. In your acting career, you would probably rather be seen as an artist than a master craftsperson. The thing to remember when you start out in acting is that everyone begins in the same place: learning the craft and the ‘tricks of the trade’. For almost all successful actors, this begins in the classroom or actor’s studio.

From this perspective, acting lessons deal in the craft of acting. It doesn’t follow, however, that your acting training doesn’t also concern acting as an art. Without a doubt, some of the artistry we admire in the performances of celebrated actors is also learned. It’s just harder to label. Acting training will also help you recognise what artistry looks like – even if you can’t pin it down. Perhaps another way of seeing the artist is as someone who, perhaps subconsciously, sees, understands and internalises that which cannot be taught.

Your acting lessons are about learning the nuts and bolts of the job. But drama classes are also a key environment for developing the ability to appreciate quality. That will help you, as an actor, to fine-tune your own performances, extend your scope and up your game. In this and other ways the art v. craft distinction breaks down. Method acting is a technique that is taught in academies and actor’s studios. It is also one that is associated with many of the actors we regard as great artists. That probably isn’t just coincidence, and the art and craft of acting can be tough to separate.

As an aspiring or novice actor you can set aside thorny questions and academic debates about acting as an art if you wish. Answers will surely take shape as you learn the craft that is always the foundation stone of all good acting.

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Some Of The Many Different Ways Art Is Expressed

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Art is defined in the Merriam Webster’s Collegiate Dictionary Tenth Addition as skill acquired by experience, study or observation. In other words art can be described as seen through the eyes of the beholder. Many forms of art have appeared over the years and newer more abstract art of modern days is often described as contemporary art.

Art over the centuries has taken on many forms. From Leonardo DaVinci to Jim Morrison, art can be determined by the desire of others to enjoy a particular form. People have been collecting famous works of art for a long time. Today many new artists skilled from personal experience have been sharing their view of beauty throughout the world.

With society changing everyday the evolution of art has become a source of particular negative views. More and more contumacy artist are making their works available to the public and as the world changes so does the view of art.

Today’s generation of adults have experienced much political and social change, making a great amount of expressive ideas to take the form as art. Although different people can view different things while looking at art, many people have changed the form of the canvas. For example, tattooing has become increasingly popular in the twenty first century. People have discovered they can express themselves by way of a permanent tattoo on their skin. When you see someone with tattoos all over their skin you may begin to form an opinion of an undesirable person.

However, if you should sit down with a person who has many tattoos on their body you may hear a beautiful story of struggle, heartache, love or even accomplishment. People have begun to put the feelings and life views out as an artful expression in the form of a tattoo.

Another form of contemporary art is the canvas paintings and photographic expressions of an abstract nature. With so many different opinions on what is and what is not art, the artists of today are not afraid to show more impressions of the unrest over the last century. The art is more real and sometimes more graphic. Due to the graphic and sometimes explicit paintings and sculptures in recent years people struggle to find a freedom through art. Art museums and exhibits are often censored for the public. Private viewings have become the norm for explicit expressions of art.

Thanks to the variety of impressions of the world around us we can view artistic expressions in raw forms. The social and political struggles in life prove to be a place for observation of the human race that deems different styles and expressions of contemporary art. Never before in history has there been more variety of expressive art shown in contemporary art.

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The Meaning of Art

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When I refer to “art” here, I am referring specifically to visual art, and more specifically to painting because that’s what I do. But I’m sure it applies to other forms of art as well.

Art can have very concrete, literal meaning to it—the more representational a work of art is, the easier it is to attribute a meaning to it. Everyone understands realistic representations of things from real life—for example, paintings of trees—when looking at one, you can say, “It’s a painting of trees, and trees are lovely to look at—that’s the obvious purpose of this art; no mystery there.”

Autumnal Giants II

This is why purely abstract art tends to appeal to a smaller audience. It is common to want to know what you are looking at so you can place a literal meaning on it. But art, even art that is fairly straightforward in its subject matter, has a larger and deeper meaning that goes beyond the literal.

This larger and deeper meaning is not intellectual in nature—it is emotional. All you need in order to “get” art is to look at it and become fascinated, motivated, influenced, impressed, inspired, or otherwise stimulated by it. All you need is to feel a connection to the art.

Cocoon II

Most people do feel a connection when looking at art (not all art, of course, but the art that particularly appeals to them personally.) Putting this feeling into words can sometimes be difficult, but just because you can’t always explain it in concrete terms does not mean it’s not real or important, and it does not mean you are missing anything. If you look at a piece of art and feel nothing, all it means is that particular piece of art is not meant for you. If you look at enough art, you will learn what you like and what has the most meaning for you.

Awakening

The artist has the job of living, feeling, and processing her unique experience and then finding a way to express that to others. The viewer may or may not get the same feelings that the artist meant to express—and that is okay. One of the fun things about art is how different people interpret it differently. Art is the physical manifestation of a mysterious human force: imagination. If it sparks your imagination or puts you in a certain mood, then you “get it.”

Golden Leaves

And that’s nice… But how does all of this apply to real life? What is the point of art—what is its use? Well here’s where choice comes in. Once you look at enough art to realize what you like, what you connect to, you get to make the choice to surround yourself with those things that inspire you and help you in your life.

Messenger at Dawn

The trick is to figure out what you really, really love—when you find it you will know. If you realize that a certain shade of red makes you happy and energized, making the conscious choice to put something of that color in your living room so you see it every day will, in theory, make you a more happy and energized person. When your spirit feels heavy and sad, art can help lift you out of that. When you feel bogged down by apathy or lost in painful frustration, looking at art can bring you back to yourself and help you keep going. Deliberately creating a mood in your immediate surroundings can help you to create the life that you want, in a very tangible way.

Lotus Pond

This interpretation of art’s meaning is obviously the result of my optimistic, existential outlook on life. I try to apply my energy—mental, emotional, physical and spiritual, towards personal transformation and growth.

But art has a myriad of uses: it is used as a tool for psychological healing, a symbol in spiritual rituals, an impetus for political or social change, an expression of inquiry, a form of entertainment, evidence of status or identity, a reminder of what’s important, and most commonly, a simple celebration of beauty.

You can decide what meaning art may have in your own life. It’s up to you! So, what does art mean to you? How will you choose to use it?

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Sun Tzu and the Art of Winning Negotiations

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To many of his colleagues, Sandro is an old China-hand. Having been working in various cities in China for the past 7 years, and has more working experience here than most of his Chinese colleagues.

One of the key success factors that attributes to Sandro’s career success in China is that he takes time and patience to listen and understand his Chinese colleagues, suppliers and partners. While some of the business practices in China may be very different, even contradictory, with the ones in his native Germany, Sandro has always been patient enough to understand why certain things are done in certain ways, and then seek to get his Chinese counterparts understand why some things have to be done the international way.

Hence, when it was time to negotiate a major deal with a key supplier, Sandro decided to have his Chinese Project Manager take the lead in the negotiations. As Sandro had not had the experience negotiating for such a large project in China yet, he thought it may be a good idea to learn from the local expert.

The Chinese Project Manager, Mr. Chen, shared with Sandro his negotiating strategy, which is to divulge nothing and squeeze them for the lowest price. And that was what he did.

Halfway through the negotiations, Sandro found things to be diverting away from his goals, such as:

• While the company does have a policy of minimising purchasing costs, there have been frequent cases of suppliers increasing prices unilaterally because they just realised the agreed prices were below their costs. If the buyer does not agree to the increased prices, the seller will cut the supplies. And since the agreed prices were below costs, the buyer then could not find other alternative suppliers to supply at such prices too.

• One of the key requirements for this deal is to have the supplier commit on various quality and delivery guarantees, which are critical for the buyer’s production. However, these issues have not been discussed as Mr. Chen fears discussing such issues will then increase their buying prices. Mr. Chen thought it best to secure the best price, then state these requirements after the price have been agreed. Sandro knows that if these requirements are stated after the price has been agreed, the supplier may not honour their quality and delivery guarantees because the price they get does not cover the costs of additional work.

Having these observations in mind, Sandro was wondering if there’s a better way to get long-term commitment to negotiated agreements in China.

Formulating Your Negotiating Strategy

“The victorious army plans for victory before fighting, the vanquished army fights before planning for victory”, says Sun Tzu in the Art of War. The same principle applies to formulating negotiating strategies as well. We can use Sun Tzu’s 5 elements:

• The Way: Your Goal or Desired Outcome

• The Climate: External Factors beyond Your Control

• The Ground: External Factors within Your Influence

• The General: The People Conducting Your Negotiation

• The Method: How Should the Negotiation be Conducted

To start with, you will have to define what the goal , or desired outcome, is for the negotiation. The most primary concern you need to have is if you just want to win the negotiation, or would you like to have a sustainable outcome of your preference.

Interestingly, while it is often mentioned that Chinese business people expect negotiated agreements to be re-negotiable later should there be some unforeseen circumstances arising, most Chinese negotiators tend to view a signed contract or agreement is an indication of negotiation success. They often are too myopic to see that if the agreement is not sustainable in the long term, or that if it is deemed unfair, their negotiation adversaries will want to re-negotiate. As such, the negotiated outcomes are NOT sustainable

Hence, to reach a sustainable negotiating outcome, you will have too consider a few more factors, such as:

• What is the negotiating outcome you want to achieve, besides price or immediate gratification?;

• What is your best-case, second-best case and worst case scenarios?;

• Why should your adversary agree to your demands or requests?;

• What are you willing to give in return for what you get?;

• When to walk away and negotiate with someone else instead?

The next question then is: would it be safe to tell our adversaries what we want?

The best victory is the one that is won without fighting

In simple terms, negotiation can be defined as: getting others to give you what you want, by giving them what they want.

The problem is, most of us would like others to give a lot MORE of what we want, while we give as little of what they want. While the reason behind such thinking is to control costs or maximise profits, there are however some flaws in this logic:

• It doesn’t mean that if you give a lot more of what they want, it will cost you a lot. There are some things that you can give at minimal or zero costs to you but may benefit your adversary a lot;

• Many times, the costs of NOT getting what we really want (apart from lower price and immediate gratification) is higher than the savings of giving as little of what they want; and

• Sometimes, you need to educate your adversaries to understand what sustainable outcome that is what they really want too!

As Sun Tzu says, “The best victory is the one that is won without fighting”. If you want your adversaries to give in to your demands or give you a lot of what you want, you may want to make your adversaries feel that:

• When they give you what you want, they will get what they really want (besides price and immediate gratification);

• You will make sure that whatever deal you make with them is something that they will be happy with, even if it’s made in your best interests;

• You make the conscious effort to shift from adversaries in the the negotiation, to being partners in the long term.

Sun Tzu also says, “Use conventional methods to get organised, but use out-of-the-box methods to achieve victory”. Talking endlessly about price will end in a stalemate, but if both parties are willing to explore the reasons why they want what they want, they might be able to come up with a creative solution that meets mutual needs.

There is a Chinese expression called “words spoken from the bottom of one’s heart”, which is actually quite common between buyers and sellers whom have done business together for a long time. It goes back to the Chinese ideal of taking care of the welfare of your business partners, even if they may be your negotiation adversaries. The trick is to make your adversaries trust you quick enough for this effect to happen.

Know Yourself and Your Adversary

When we mention we need to win the trust of our adversaries, it doesn’t mean that we are just being nice and sacrifice all our profits. Hence, Sun Tzu says, “Know yourself and know your adversary, a hundred battles fought and not be imperiled in any”.

What this means for the negotiator could be:

• You can’t win with ALL adversaries. Knowing whom you can trust, and get them to trust you, is key to getting winning outcomes;

• You don’t just learn about your adversaries by talking to them only. You can get more information about your adversaries (including if there’s a huge need for you to give them what they want) from their colleagues, business partners or industry news in general; and

• In negotiation, knowing your adversary could be just as important to let your adversary know you. If the adversary is someone whom you do not know, start with disclosing less sensitive details in smaller deals.

In short, while there are overwhelming tips, techniques and other resources on how to win in negotiations, there is only one thing in the minds of your adversaries, and that is “Why should I let YOU win?”.

Here’s one last little story to illustrate why it is important to get your adversaries to want to let you win, rather steamrolling over them. We often see some unreasonable and rude guests in hotels or restaurants who make unreasonable demands to the service staff in very rude ways, knowing that because they are paying the money, the service staff will just have to say “yes” to most of their rude demands. While some service staff merely suffer in silence, some experienced service staff know how to get back by secretly spitting or adding other unmentionable “ingredients” into the food of the rude customer.

The moral of the story: even if you have overwhelming bargaining power, you may still want to make your adversaries wanting you to win. As in the Art of War, “To win, use reason to connect with your people, and use discipline to implement your strategies”

by c.j. Ng

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Top 10 Films About Contemporary Art

Visiting art galleries and reading art magazines and books is great. But sometimes you just want to lie on your sofa with a cup of tea and relax watching a good movie. Now that it’s winter, you might feel this desire more often. A movie can be an art form and when it is a movie about great artists and art, it’s like watching ‘art squared’, so to speak. So don’t miss out, give it a try – you won’t be sorry.

Here is a list of movies about contemporary art to get you started. Some are old, some new, but all are really inspiring. I have listed the movies alphabetically, and I haven’t given any of them a personal rating since as far as I’m concerned, all of them are worth watching. This is just to inspire you to watch these films, and perhaps move on to others afterwards.

Art School Confidential

Who said anything about talent?

IMDb rating: 6.3

Director: Terry Zwigoff

Production year: 2006

This movie is a comedy rather than drama, and it focuses on the story of an art student who had spent all his life dreaming about being a great artist. Although the film makes fun of the contemporary art world in many respect, it also shows its attractive side, and gives an idea of the dedication artists can feel to their work.

Basquiat

In 1981, A Nineteen-Year-Old Unknown Graffiti Writer Took the New York Art World by Storm. The Rest Is Art History

IMDb rating: 6.8

Director: Julian Schnabel

Production year: 1996

This is an absolutely unforgettable movie about American street artist Jean-Michel Basquiat. It gives you a deep view of Basquiat’s world, his life, friends, love and works. Julian Schnabel is an artist himself, and so has personal experience of the world he’s looking into, something that adds an unusual and meaningful level of validity to the movie.

Exit Through the Gift Shop

The incredible true story of how the world’s greatest Street Art movie was never made…

IMDb rating: 8.2

Director: Banksy

Production year: 2010

It is brilliant movie, which keeps you guessing and puzzling right through to the end. At first sight you may think that the film is about street art documentary filmmaker Thierry Guetta, but actually it is about world famous graffiti artist Banksy. I won`t be surprised if after watching this film you want to hit the streets with a spray can.

Factory Girl

When Andy met Edie, life imitated art

IMDb rating: 6.1

Director: George Hickenlooper

Production year: 2006

Although the movie is dedicated to the life of underground film star Edie Sedgwick, and this aspect of it is certainly interesting, much of the appeal comes from his explored relationship with Andy Warhol. Watching the movie will give you the a fairly comprehensive impression of the Factory, a place where artists of any genre met and created what became a game-changing part of modern art.

Frida

Prepare to be seduced

IMDb rating: 7.3

Director: Julie Taymor

Production year: 2002

This is a fantastic biographical story about the life and work of an extraordinary and immensely strong woman, the well-known Mexican artist Frida Kahlo. The film is like her works: colorful, full of love, powerful and unique.

Fur: An Imaginary Portrait of Diane Arbus

IMDb rating: 6.2

Director: Steven Shainberg

Production year: 2006

This is a sincere look at the iconic American photographer Diane Arbus and her real love for Lionel Sweeney, who helped her to become an artist who came to help define photography in the twentieth century.

The Great Contemporary Art Bubble

IMDb rating: 7.3

Director: Ben Lewis

Production year: 2009

This is an extremely interesting BBC production, by a UK art critic, Ben Lewis. It will take you on a journey into the contemporary art world, with all its secrets. You will visit world famous auction houses and galleries, and even the homes of art collectors.

How to Draw a Bunny

IMDb rating: 7.2

Director: John W. Walter

Production year: 2002

This is a documentary about Ray Johnson, who has been called “New York’s most famous unknown artist,” and is about the mysteries of his life and art, and of course his influence on the Pop Art world.

My Left Foot

A film about life, laughter, and the occasional miracle

IMDb rating: 7.8

Director: Jim Sheridan

Production year: 1989

This is based on the fantastic true story of Christy Brown, painter and author, who could control only his left foot. It is the only film in this list that won 5 Academy Awards, – Best Actor (Daniel Day-Lewis), Best Supporting Actress (Brenda Fricker), Best Director (Jim Sheridan), Best Picture and Best Screenplay (Shane Connaughton and Jim Sheridan). With that recommendation, how can you fail to give it a go?

Pollok

I thought I knew all the outstanding artists in New York and I don`t know Jackson Pollock

IMDb rating: 7.1

Director: Ed Harris

Production year: 2000

Wonderful movie about world famous American painter Jackson Pollock. This film demonstrates his great talent and difficult nature, and the way he tried to combine the two.

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Source by Alice M Shown

Marketing – Art or Science?

Is marketing an art or a science? The answer is yes. Marketing is both – an art and a science. Enjoy this point and counter point about the art and science of marketing. Use the strengths of both arguments to better understand and improve your marketing.

Marketing Science
Marketing is a science because marketing is about understanding and influencing behaviors. Psychology, the science of behaviors, studies how people react to certain stimuli in predictable ways. This is similar to Newton’s’ third law – cause and effect. For every marketing action there is a reaction. The science is in anticipating the reactions to your actions.

Marketing Art
Marketing is an art because marketing is about appreciating the nuances of human behaviors. Beauty is in the eye of the beholder. Beauty is art.

Marketing Science
Marketing is a science because marketing is about measuring and analyzing the numbers. How many prospects do you reach? How many people read your message? How many do you convert to buyers? How much do they spend? How many buy again? These are mathematical questions and answers and important to the success of your marketing. Math and accounting are important sciences to your business.

Marketing Art
Marketing is art because marketing is about creating a demand for your product. Some of that demand is immediate and some of it is in the future. You can try to use science to predict the future part but you might pick a number based on art. There is always an unknown aspect that we attribute to art.

Marketing Science
Marketing is a science because the most common question is “How much money should I spend on marketing?” The business owner and the accountants want the answer to this question. It’s a good question but the more important question is, “What return can you expect from your marketing investment?” That’s an important question and it is measurable like science.

Marketing Art
Marketing is an art because there is the issue of branding which is difficult to measure. To generate a good return on your marketing investment requires a creative approach. That means that you need to apply the art of marketing. That is difficult to measure but it is necessary.

Of course the argument of science versus art could go on. Is it art? Is it science?

I believe that many marketers try to portray marketing as art when they can’t measure their results. Hence they give up responsibility for their marketing programs. They suggest that marketing is all chance. Many self-declared branding experts talk about the art of branding and refuse to face the science of measurement. Don’t be fooled by that hocus pocus.

I believe that marketing is a science that should draw upon the art. Never let art dictate the direction of your marketing. Use science to determine major decisions and use the art for the nuances.

Is marketing a science or art? I believe that it is both art and science. Most importantly the science should lead and measure; the art should inspire and create.

That is the art and science of marketing.

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What is the Significance of Art

Art is such a simple term but it is difficult to define. To a child, art is drawing and coloring. For celebrities, art is acting and entertaining. For designers, art is trend and fashion. The definition of art can be very objective.

Different sectors have their own definition of art. They have various standards too. For a mother, the drawings of her children are works of art. For museums, art is the genuine creation of a significant artist in the past.

Just like its definition, its significance also varies. There are various forms of art today, and each is important to the artist involved. A good example is a musician. Music is a good example of art. That is why singers are called artists. For a songwriter, each song has a story that he wants the people to hear. For most writers, this is very personal.

For various artists, art is way of expressing themselves. You may have seen an abstract oil painting, although you cannot recognize the patterns and strokes of the artists, it is very important for the painter. For him, it represents his emotion and his character. It can symbolize his anger and frustration. However, it can also represent his love and compassion. Anyone who sees it can also use it to represent how they feel. Strokes and colors can evoke certain emotions from other people. This is why most people want to buy pieces of artwork.

For others, it represents their dreams. The television today has produced several competitions that opened the doors for various dreamers. There are dancers across the country who lined up to audition because all their life they wanted to dance in front of an audience who appreciates what they can do. Many have gone to school to enhance their skills so that they can be among the best dancers in the world.

Like music, dancing is a form of art that can evoke various feelings. Aside from love, dances can also evoke sensuality, excitement, fun, passion, anger, and happiness. Art here is more than entertainment and talent. It is more of touching people lives through their moves and choreography.

Today, art also symbolizes comfort. You can see art in many beautiful and comfortable homes. Interior designers are also artists in many ways. They match things to provide a wonderful space for their client. Seeing the overwhelming reactions of their clients gives them satisfaction. To them, that is the most rewarding feeling.

Art has also transcended in foods. Many cooks and chefs have proven this. Some maybe predictable but others are like the abstract oil painting. You do not care what is in there as long as you like the taste. For them, being able to feed and satisfy their customers is all that matters.

Art is very significant in today’s generation. Since it has taken various forms, it has earned the respect of almost all the artists. Musicians respect their instruments. Painters respect their brushes, paints, and canvass. And, chefs respect their ingredients and utensils.

Art is significant because of the sense of fulfillment an artist feels every time he finishes a masterpiece.

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Source by Jessica Ackerman

Developmental Learning in Art

Developmental Learning in Art

Human developmental theories can be found in education, society, and even in peace research: cognitive, developmental, social learning, and socio-cultural developmental theories all have contributed to the educational system that is present today in the United States of America. Researchers such as Darwin, Freud, Erickson, Piaget, Watson, Skinner, Kohlberg, Bandura, Vygostsky, Bowlby, Bronfenbrenner, Gilligan, among many other scientists have done extensive research that today has influenced education throughout the content areas. The purpose of this article is to analyze two human development theories and create a lifelong learning curriculum for the art education throughout the lifespan of a learner.

Cognitive Developmental Theory

To understand is to invent, or to reconstruct by reinventing.                           

  Piaget (1972, p. 24)

Jean Piaget

Even though some critics say that Piaget’s theories are not correct, others support his research. To understand a bit better where the theories originated from lets discuss the origin of Jean Piaget. In 1896, born in a French-speaking part of Switzerland a child was born to a medieval literature professor called Arthur Piaget. According to his father, Jean was a precocious child who developed an interest in natural science (biology and the natural world), and even published a number of papers before he graduated from high school about mollusks. His lifelong passion was to understand how humans create knowledge. Piaget’s efforts founded the discipline of genetic epistemology (biological foundations for knowledge), and established a framework that continues to affect the way teachers are trained and students are taught.

He served as a professor of psychology at the University of Geneva from 1929 to 1975 and is best known for reorganizing cognitive development theory into a series of stages, expanding on earlier work from James Mark Baldwin: four levels of development corresponding roughly to (1) infancy, (2) pre-school, (3) childhood, and (4) adolescence. Piaget spent years observing and interviewing young male children in an effort to further his theories about the construction of knowledge. According to Nagarjuna (2006), Piaget “thought that by observing the ways that children create meaning, he could learn more in general about the development of knowledge.”

Development from one stage to the next according to Piaget is the accumulation of errors in the child’s understanding of the environment; theses errors eventually causes such a degree of cognitive disequilibrium that the structures within the child require reorganizing. According to Murray (2007), “All development emerges from action; that is to say, individuals construct and reconstruct their knowledge of the world as a result of interactions with the environment.”  According to Nagarjuna (2006), “Cognitive structures are understood to be the ways that young people make sense of the world, given their lack of adult sensibilities.”

Jean Piaget viewed intelligence as a process that help an organism adapt to its environment and proposed four major periods of cognitive development. The four development stages described in Piaget’s theory are (1) sensorimotor stage, (2) Preoperational stage, (3) Concrete operational stage, and (4) formal operational stage. Each cognitive structure in Piaget’s theory is defined by a series of traits, and corresponds loosely to specific age. These chronological periods are not rigid rules, just approximate values to set the stages in an order starting from birth to 2 years of age defining the sensorimotor stage, where the children experience the world through movement and senses and learn object permanence. The preoperational stage starts from the age of 2 to 7 years and the child has an acquisition of motor skills. In the concrete operational stage starts from 7 to 11 years and the children begin to think logically about concrete events that are taking place in their environment. In the formal operational stage begins after the age of 11 and it is when the child develops of abstract reasoning of the world around them.

            Based on his life long research, Piaget felt that “students should not be seen as empty vessels to be filled by expert teachers, but rather active participants in the building of their own knowledge” (Nagarjuna, 2006). According to Murray (2007), Piaget concluded “that schools should emphasize cooperative decision-making and problem solving, nurturing moral development by requiring students to work out common rules based on fairness” (p. 2). Even though the explanations offered may be incorrect today, according to the latest adult sensibilities and research, but “the fact that children do offer explanations for these things shows that they are actively working to understand the world around them” (Nagarjuna, 2006).

Following Piaget’s line of reasoning, Selman (1980) examined children’s cognitive understanding of the social world. To understand relations and interactions between people, children need to understand that others also have an internal state which influences how they are behaving. Selman reported that rather young children realize that different people have visual perspectives which are independent from their own. . . . Implying Piaget’s insight in peace education would ask for an active, exploratory process in which conflicting information and social dilemmas are allowed to exist. In such a process, learning to understand the underlying perspectives (visual, social, or emotional) of other people would broaden our possibilities of being confronted with and understanding differences.

Hakvoort (2002)

Lev Vygotsky

The second theory that will be used to write the art curriculum for the lifelong learners is the cognitive theories of Lev Vygotsky. Vygotsky insists that children’s minds are shaped by the particular social and historical context in which they live and by their interactions with adults, explaining why educators will never be replaced with technology no matter the advances that we reach. His social development theories play a fundamental role in the development of cognition. Vygotsky (1978) states:

Every function in the child’s cultural development appears twice: first, on the social level, and later, on the individual level; first, between people (interpsychological) and then inside the child (intrapsychological). This applies equally to voluntary attention, to logical memory, and to the formation of concepts. All the higher functions originate as actual relationships between individuals (p.57).

Vygostsky’s theory of art developed a “dynamic overall approach by (1) the writer’s intentions, era, and background; (2) the form, content, and symbolism of the literary piece; and (3) the readers’ experience and interpretation of the work” (Lindqvist, 2003). Vygostsky did not regards art as something spiritual and metaphysical, which raises the artists genius above the shape and contents of the work being created. Instead, he saw art as a reflection how society touches the people’s lives and how society developed. Art is an excellent tool for studying not only society, but emotions, and psychology. According to Lindqvist (2003), “Vygostsky regarded the psychology of art as a theory of the social techniques of emotions. His analysis reflects the artistic process.”

Art

The Britannica Online defines art as “the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others.” The first and broadest sense of art is the one that has stayed closest to the older Latin meaning, which roughly translates to “skill” or “craft,” and also from an Indo-European root meaning “arrangement” or “to arrange.” In this sense, art is whatever is described as having undergone a deliberate process of arrangement. Art can describe several things: a study of creative skill, a process of using the creative skill, a product of the creative skill, or the audience’s experience with the creative skill. Art is something that visually stimulates an individual’s thoughts, emotions, beliefs, or ideas. Art is a realized expression of an idea – it can take many different forms and serve many different purposes.

Using this last definition art would be a good tool to used to help students acquire a sense of belonging in their environment. According to Wekipedia, the common characteristics displayed by art are:

  1. encourages an intuitive understanding rather than a rational understanding, as, for example, with an article in a scientific journal;
  2. was created with the intention of evoking such an understanding or an attempt at such an understanding in the audience;
  3. was created with no other purpose or function other than to be itself (a radical, “pure art” definition);
  4. is elusive, in that the work may communicate on many different levels of appreciation;
  5. may offer itself to many different interpretations, or, though it superficially depicts a mundane event or object, invites reflection upon elevated themes;
  6. demonstrates a high level of ability or fluency within a medium; this characteristic might be considered a point of contention, since many modern artists (most notably, conceptual artists) do not themselves create the works they conceive, or do not even create the work in a conventional, demonstrative sense (one might think of Tracey Emin‘s controversial My Bed);
  7. confers particularly appealing or aesthetically satisfying structures or forms upon an original set of unrelated, passive constituents.

Art Educational Program

But if you ask what is the good of education in general, the answer is easy; that education makes good men, and that good men act nobly.

Plato

            Many schools are now learning how to deal with the diversity among the student and teacher population. Greenman (2007) suggests that art, music, and language are a good way to embrace cultural diversity. Art teachers, need to incorporate the art of other cultures throughout the schools curricula. Just as the scientists that wanted to change the world with their theories on human development artists, art teachers, art historians and other enthusiasts appreciate and value the art of other countries, so perhaps we may facilitate the education of others. Since according to Greenman (2007), “We’re all aware that when you know and understand something, you come to appreciate and value its uniqueness.”

Design, Implementation, and Teaching

A child’s education should begin at least one hundred years before he is born.

Oliver Wendell Holmes, Jr.

Infants. Infants are children classified from birth to 2 years of age. Through the use of many practices, specialized schools, and educational program for parents, caregivers can start educating their child from infancy using art. Art exposes the child to a world of imagination while it introduces him/ her to the riches of our world (plants, animals, places, etc.). Since infants can’t speak exposing them to bright colors, pictures, cartoons, and other forms of art is the best tool to use. During these delicate years of infancy, the child is developing their sensorimotor skills (uses of all the five senses). Color are the best way to help develop hand and eye coordination by obtaining toys, tools, education material that is bright and contains the main primary colors: red, blue, yellow, green, white, and black. The exposure to more colors helps the students learn to define and identify not only the colors but the objects containing the colors, using their appropriate names if taught by the caregivers.

 

Education is an admirable thing, but it is well to remember from time to time that nothing that is worth knowing can be taught.

Oscar Wilde

Toddlers. Toddlers in the other hand are children from the age of 2 to 5 years old. These children are active and have been able to identify colors, shapes, object, and their functions. As the child’s caregiver this is time to expose the children to watercolors, colored pencils, crayons, long white walls, mud, clay, and so on. The student will learn to make lines and circles, which are the basic principals for writing. The use of watercolors, brushes, and color pencils will refine the motor skills they will need in the future. The crayons would teach them to stay in between the lines while making their own masterpieces to share their feelings and their view of the environment.

 

Those who educate children well are more to be honored than parents, for these only gave life, those the art of living well.

Aristotle

Once a child enters the school system it is the teachers task to become the second parent, the guide need to enhance the lives of the children. At this stage of development, the children are able to identify and recognize variations in their environment. They are able to create art, enhance it, mimic it, copy it, and interpret the art, the culture, and the origin of it. The students learn how to express their feeling, emotions, sentiments, problems, solutions, and soul through their colors. At this ages they also try to experiment by creating their own colors, mixing and matching to create their own identity.

 

Education is not received. It is achieved.

Anonymous

Adolescence. Teenagers are a strange bread of individuals not quite adults, yet not quite children. These students are full of energy, passion, rage, anger, emotions, problems, and should be taught to use art as a means to release, fix, or neutralize these emotions. The students can at this age create a art festival in which they show the techniques and skills they have learned in previous years. Since art teachers are natural leaders according to Greenman (2007),  high school students can create an “International Festival” in which they can exhibit various works of art from diverse countries, make creative bulletin board of different languages, have a dance contest in which P.E. class are incorporated, use diverse cloth from different cultures, after-school activities, special meals, among other things. As a high school teacher, “students could wear special costumes from their country of origin at the event. The colors, designs, and patterns would add much to the festive occasion. Wearing art from around the world … a feast for the eyes” (Greenman, 2007).

The Classroom experience is changed when you’re close to the age of the professor and bring similar life experiences into the leaning process.

Gay Clyburn

Young Adults. As a young adult, there are many ways that you can enhance art education among the students population. Personally, the students are looking to enhance their knowledge of the world and environments around them. As the instructor a creation of a diverse art curriculum that includes making colors from scratch, how to make paper, in depth study on how colors where used in Egypt, Greece, Paris, US, Latin America, China, Japan. In these courses, go into depth on how to interpret, appreciate, and create art piece that could teach the students how to blend in to a diverse settings. Teach how to tell a story through time using only colors and art.

Education makes people easy to lead, but difficult to drive; easy to govern, but impossible to enslave.

Henry Peter Brougham

Senior Citizens. As an educator, while teaching an art to senior citizens incorporating acrylic painting, watercolors, and other techniques to help them express what they have seen, lived, and experience through life. Learning how to leave a legacy of love for their loved ones, long discussions on the topic will lead to philosophy, acquisition of others knowledge and the teacher would become the students and the students would become the teachers since their experiences would be much greater than the educators. A deep discussion on the Mona Lisa, could lead us to solve the Dan Vinci code, while trying to create their own mysteries, while realizing that “If you educate a man you educate a person, but if you educate a woman you educate a family” (Manikan).

In conclusion, art education has many benefits for the students and world that we live in, but what has the educational systems have been doing to ensure the survival of these programs since they seem to be the first eliminated when the budgets are cut in schools. According to Holcomb (2007), “as a growing consensus of policymakers, educators, and parents agree that the arts are integral to learning, some districts are seeing a policy shift on the local and state level. In California, education and arts organizations have worked to secure a windfall arts budget that, in theory, would guarantee arts education in every public school in the state. The monies – $105 million in ongoing funds, and a one-time, $500 million line item for classroom equipment – are a legacy of the California Teacher Association’s successful lawsuit on education funding.”

References

Clyburn, G. (2006, November / December). Listening to Students: Dusting Off a Life of the Mind. Change.

Ferrari, M., Pinard, A., and Runions, K. (2001). Piaget’s Framework for a Scientific Study of Consciousness. Human Development, 44: 195 – 213.

Hakvoort, I. (2002, January). Theories of Learning and Development: Implications for Peace Education. Social Alternatives, 21(1): 18 – 22.

Holcomb, S. (2007, January). States of Arts. Art Education. Retrieved February 1st, 2007 from Neatoday.

Greenman, G. (2007, January). Tried & True tips for Art Teachers. Retrieved January 31, 2007 from www.art5andactivities.com

Lindqvist, G. (2003). Vygostsky’s Theory of Creativity. Creativity Research Journal, 15 (2-3): 245 – 251.

Lourenco, O., and Machado, A. (1996). In Defense of Piaget’s Theory: A Reply to 10 Common Criticisms. Psychological Review, 103 (1): 143 – 144.

Malerstein, A.J., Ahern, M.M., Pulos, S., and Arasteh, J.D. (1995, Spring). Prediction and Constancy of Cognitive-Motivational Structures in mothers and their adolescents. Child Psychiatry and Human Development, 25(3): 197 – 208.

Murray, M.E. (2007). Moral Development and Moral Education: An Overview. Department of Psychology, University of Illinois at Chicago. Retrieved on January 25, 2007 from http://tigger.uic.edu/~Inucci/MoralEd/overviewtext.html

Nagarjuna, G. (2006) Tracing the Biological Roots of Knowledge, in Rangaswamy, N.S., Eds. Life and Organicism. Project of History of Indian Science, Philosophy and Culture (PHISPC).

Piaget, J. (1976). La formation du symbole chez l’enfant. [Play, dreams, and imitation]. Neuchantel, Switzerland: Delachaux et Niestle. (Original work published 1946).

Vygotsky, L.S. (1978). Mind in Society. Cambridge, MA: Harvard University Press.

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Source by Maritza M. Conde