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By Kevin F. McCarthy

Offering information regarding advancements within the visible arts international, this e-book promotes and research of the field, describing the features of visible arts shoppers, artists, funds, and association.

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Although objects in the general commercial market may emulate fine art objects, they are not part of this narrower world of discourse. Each of these arts markets can, in turn, be disaggregated into assorted submarkets by the styles of work. For example, the fine arts market can be sorted into submarkets for contemporary, modern, Impressionist, old masters, etc. , landscapes, still lifes, and Western art. From a demand perspective, there is another major distinction between these two markets: the prices they command.

Performance art, for example, is typically included within the visual arts and is often explicitly designed to be ephemeral. However, as the name suggests, performance art usually has more in common with the performing arts than with most of the visual arts. The media arts are also often ephemeral and, like some performance art, intentionally blur the boundaries among the various disciplines. , photography—the emphasis on originality and uniqueness is still an important consideration for fine art in the overwhelming majority of cases.

They have also helped determine how the market evaluates different art works and correspondingly the prices for which that art is sold. Similarly, changes in the arts market have helped shape public perceptions of art and, as we will demonstrate, how museums go about attracting audiences. Perhaps most important, these three institutions have shaped the operation of the visual arts world in a way that clearly differentiates it from the other arts. These differences are manifest in how individual art works are evaluated and consumed, the skills that determine artists’ prestige and earnings, and how the visual arts system is organized.

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