A Most Ingenious Paradox: The Market for Contemporary Fine Art

The economic behavior of artists, dealers, and collectors in the local (not the high-end, elite New York hegemonic center) market for contemporary fine art is discussed. Seemingly bizarre behavior such as an artist giving a dealer a share of the sale of an art object the latter has never handled to a buyer the dealer has never seen is analyzed with reference to identity, economic rationality, and consumer risk.     

Art Expertise Reduces Influence of Visual Salience on Fixation in Viewing Abstract-Paintings

When viewing a painting, artists perceive more information from the painting on the basis of their experience and knowledge than art novices do. This difference can be reflected in eye scan paths during viewing of paintings. Distributions of scan paths of artists are different from those of novices even when the paintings contain no figurative object (i.e. abstract paintings). There are two possible explanations for this difference of scan paths. One is that artists have high sensitivity to high-level features such as textures and composition of colors and therefore their fixations are more driven by such features compared with novices. The other is that fixations of artists are more attracted by salient features than those of novices and the fixations are driven by low-level features. To test these, we measured eye fixations of artists and novices during the free viewing of various abstract paintings and compared the distribution of their fixations for each painting with a topological attentional map that quantifies the conspicuity of low-level features in the painting (i.e. saliency map). We found that the fixation distribution of artists was more distinguishable from the saliency map than that of novices. This difference indicates that fixations of artists are less driven by low-level features than those of novices. Our result suggests that artists may extract visual information from paintings based on high-level features. This ability of artists may be associated with artists’ deep aesthetic appreciation of paintings.     

Arts and Ageing; Life Expectancy of Historical Artists in the Low Countries

Practising arts has been linked to lowering stress, anxiety and blood pressure. These mechanisms are all known to affect the ageing process. Therefore, we examine the relation between long-term involvement in arts and life expectancy at age 50 (LE50), in a cohort of 12,159 male acoustic, literary and visual artists, who were born between 1700 and 1899 in the Low Countries. We compared the life expectancy at age 50 of the various artists with the elite and middle class of that time. In the birth cohorts before 1850, acoustic (LE50:14.5–19.5) and literary artists (LE50:17.8–20.8) had a similar life expectancy at age 50 compared to the elite (LE50:18.0–19.0). Only visual artists (LE50:15.5–17.1) had a lower life expectancy at age 50 compared to the elite at that time. For the most recent birth cohorts from 1850 through 1899, the comparison between artists and the elite reversed and acoustic and literary artist had a lower life expectancy at age 50, while visual artists enjoyed a similar life expectancy at age 50. Although artists belonged to the middle socioeconomic class and lived predominantly in urban areas with poor living conditions, they had a life expectancy similar to the elite population. This is in line with observed favourable effects of practicing arts on health in the short-term. From our historical analysis, we hypothesize several mechanisms through which artistic creativity could influence the ageing process and life expectancy. These hypotheses, however, should be formally tested before any definite conclusions on effects of arts on ageing can be drawn.     

Not Without a Cost: Contemporary PNG Art in the 21st Century

This article addresses the life experiences and work of two contemporary Papua New Guinean artists: Saun Anti from the artistically conservative Middle Sepik River area, and Wendi Choulai, from Melbourne, Australia. Anti's story of reprimand, censorship, and banishment, and Choulai's being the antithetical situation, illustrate some hurdles faced by contemporary PNG artists. Anti's and Choulai's art posed a challenge to their people's concept of traditional forms as well as to the preconceptions of collectors and curators. They are artists torn between two worlds: the world of “tradition,” reciprocity, and initiation, and the sophisticated, cosmopolitan world of the international artist.     

Coevolutionary aesthetics in human and biotic artworlds

This work proposes a coevolutionary theory of aesthetics that encompasses both biotic and human arts. Anthropocentric perspectives in aesthetics prevent the recognition of the ontological complexity of the aesthetics of nature, and the aesthetic agency of many non-human organisms. The process of evaluative coevolution is shared by all biotic advertisements. I propose that art consists of a form of communication that coevolves with its own evaluation. Art and art history are population phenomena. I expand Arthur Danto’s Artworld concept to any aesthetic population of producers and evaluators. Current concepts of art cannot exclusively circumscribe the human arts from many forms of non-human biotic art. Without assuming an arbitrarily anthropocentric perspective, any concept of art will need to engage with biodiversity, and either recognize many instances of biotic advertisements as art, or exclude some instances of human art. Coevolutionary aesthetic theory provides a heuristic account of aesthetic change in both human and biotic artworlds, including the coevolutionary origin of aesthetic properties and aesthetic value within artworlds. Restructuring aesthetics, art criticism, and art history without human beings at the organizing centers of these disciplines stimulate new progress in our understanding of art, and the unique human contributions to aesthetics and aesthetic diversity.     

Visual interest in pictorial art during an aesthetic experience

Two experiments were performed during which adults untrained in the visual arts were shown digital versions of eight paintings by renowned artists. In Experiment 1 participants' written reactions following a single 100 ms glance at each work were found to overwhelmingly reflect an initial holistic impression (i.e. gist) of the structural arrangement and semantic meaning of the paintings. In the second experiment participants' eye movements and verbal reactions were recorded as they evaluated each reproduction for pleasingness. Analyses reveal the relationships between the content and structural organization of the art stimuli and the way viewers select, process and think about information contained in paintings across the time course of an aesthetic experience. The results are interpreted in terms of an information-processing stage model of visual aesthetics according to which perceptual-cognitive processing of an art stimulus begins with the rapid generation of a gist reaction followed by scrutiny of pictorial features directed in a top-down fashion by cognitively-based evaluative processes.     

Creating inspiration: The role of the arts in creating empathy for ecological restoration

Summary Australia’s natural areas have long been a source of inspiration for artists. Some of this art is a response to the natural environment or represents it in some way, and some is exhibited or performed in the natural environment itself. The objectives of this article are to: investigate the relationship between art and the artists who create it and people who make a living in extension, landcare or on the land; and, develop an understanding of whether the arts can encourage an emotional affinity with the natural environment. Eighty‐nine key informant interviews were conducted in Australia, the UK, USA, Canada and Norway, including people working in the arts and people working in natural resources management. Those in the latter group were people who either (i) worked in an extension (outreach) or community facilitation capacity, or (ii) people who played a voluntary role with community on‐ground restoration projects or who showed exemplary behaviour towards the environment. All the people working in natural resources management cited examples of visual or performing arts that they had found inspiring, that encapsulated or defined their attitudes towards the natural environment, or which reinforced their attitudes towards the natural environment. From these interviews, the idea of ‘chains of inspiration’ emerged. Each of the ‘chains’ began with people who worked directly on the environment. These people were in turn influenced or inspired by particular art from which they gained an emotional affinity towards the environment. The chains then progressed to the artists who created the art. All of the chains ended up with the natural environment from which the artists drew their inspiration. The paper concludes that by providing an emotional affinity or empathy for the natural environment, art can have a major role in influencing pro‐environmental attitudes.     

Seeking a higher level of arts integration across the curriculum

To seek a higher level of arts integration across the education curriculum, I investigated designs of teaching through arts activities that would motivate educators to adopt the spirit of “aesthetic teaching.” Two different designs were tested, with the second as a continuation of the first. Each ascribes a different educational role to arts activities—in the first design the role of art is that of a teaching medium, while in the second its role is as a teaching approach to the taught subject. The study followed the steps of a “teaching design experiment.” The preschool teachers who constituted the sample used these activities with groups of kindergarteners. The analysis of the data was based on the reports of the teachers, which were examined for indicators of “aesthetic teaching.” The findings of this study suggest that there is a correlation between the educational role of the arts and the level of aesthetic orientation of educators in applying arts integration. Generally, the sample experienced the second design (in which the role of art is that of a teaching approach to the taught subject) as more of an aesthetic teaching situation than the first design (in which the role of art is that of a teaching medium).     

High art as tourist art,tourist art as high art: Comparing the New Guinea Sculpture Garden at Stanford University and Sepik River tourist art

This paper compares two contemporary aesthetic expressions: tourist art from the Sepik River in Papua New Guinea and the New Guinea Sculpture Garden at Stanford University. Both aesthetic expressions undermine the conventional categories that classify art. Sepik River tourist art is motivated not by the drive to lend individual, subjective experience a material expression but by monetary desire. The New Guinea Sculpture Garden was expressly created so that Sepik artisans could expand beyond the confines of village traditions and create unfettered aesthetic expressions. But seemingly inauthentic Tourist Art actually represents many of the ideals normally ascribed to Western masterpieces, or High Art. Conversely, the High Art of the Sculpture Garden in many respects resembles inauthentic reproductions and the tenacity of traditional forms. Both tourist art and the sculpture Garden, however, have one key quality in common: they rupture conventional artistic cattegories.     

Thinking about artworlds in a global flow: Some major disparities in dealing with visual culture

This article will argue that the differences between art history and the anthropology of art not just due to discipline-driven methodologies, though these are certainly a factor, but also occur because art historians and anthropologists are usually asking rather different questions, and finding the answers in quite different places within the culture. As a starting point I will demonstrate these differences of both approach and result, using two acclaimed studies by anthropologists of African expressive culture, one from the Congo (Zaïre), the other from Sierra Leone. Although very different from each other, both downplay the importance of affect, and both assume aesthetic practice is transparent, i.e. that it directly reflects the meaning of life or human behavior. No art historian would make such a confident assumption.     

1994 Molecular Graphics Art Show and Video Show

The 1994 Molecular Graphics Art Show and Video Show were presented at the 13th annual international meeting of the Molecular Graphics and Modelling Society. The art show—shown in the Mary & Leigh Block Gallery on the campus of Northwestern University, Evanston, Illinois—included original artworks by eighteen artists and the video show included nine original animated works. All were chosen for their ability to present the complexity, diversity, and beauty of the molecular world in visual form. Works from a wide range of disciplines were represented, including work by scientists actively involved in structural research, by commercial illustrators presenting these results to students and physicians, and by fine artists exploring the meanings and implications of these molecules in our lives. Included in this issue of the Journal of Molecular Graphics are comments by the juror of the show, T.J. O'Donnell, a catalogue of the art show, and a catalogue of the video show.     

Introduction to fish imagery in art

Synopsis Fish have been the subject of works of art for at least 14000 years and appeared in primitive art from many cultures. In ancient civilizations of the West, fishes were a constant, if infrequent, motif. Fish designs in ancient Egypt were common and showed little change for 1500 years. Decorative fish designs of the Greeks and Romans (often with mythological significance) were adopted by early Christians as religious symbols. With the development of printing, the non-religious depiction of fish became more widespread and realistic paintings of fish, especially still lifes, appeared during the Renaissance. This still life tradition reached a peak in 17th century Netherlands. After 1750, fish images appeared in many different contexts. Realistic painters showed the agony of newly-caught fish, dramatic marine scenes with fish, and occasionally freshwater fishes in their habitats. In the twentieth century, fish were painted by many modern artists, including Matisse, Picasso, Klee, Masson, Beckman, Soutine, Magritte, and Thiebaud. Some of these artists' fish images are pleasing, others are violent or ambiguously symbolic. In contrast, contemporary nature artists tend to paint live fish in idealized settings, a style with roots in 17th century still lifes and oriental brush paintings. In Japan and China, fish have been an important theme in art and their use has been highly symbolic. A survey of fish images in art shows that artists, like scientists, create mainly in the context of historical precedents.     

The influence of genetics on contemporary art

Contemporary visual artists are incorporating genetic concepts into their work, and this work has become prominently featured in numerous museum and gallery exhibitions. Such art uses visual images that represent the language of genomics, the values affected by genetic understanding of the body and the implications of bioengineering. Here, we present various examples of how artists depict aspects of genetics as cultural icons and symbols; in particular, their focus on DNA as information and on the commercialization of genetics research material.     

Mind the gap: Encountering contemporary art through play

Knowing how to approach and experience contemporary art is a challenge to many people outside the art world. Emerging contemporary art, as the newest of this genre, is often the most challenging. This article recounts my own early struggles as a researcher in this field, and proposes a way of understanding the interaction between artist, artwork and perceiver based on my observations of how contemporary artists encounter each others' work. I argue that contemporary art, and especially emerging contemporary art, creates a space to play by creating an intentional gap in the physical form and/or the semantic structure of the artwork. The object of play is the co‐investigation of an idea initiated by the artist, facilitated by the form of the work and furthered by the encounter. Play, it is argued, is essential to emerging contemporary art as an activity, a communicative frame and a disposition. I draw from earlier theoretical connections between art, play and liberation, challenging some of these assertions, and bringing others into relevance in the contemporary context.     

Portraiture and Proximity: ‘Official’ Artists and the State-ization of the Market in Post-Soviet Kazakhstan

This article traces the production and circulation of state officials' portraits in post-Soviet Kazakhstan, as visual artists engaged in the cultivation of an art market after the dismantling of socialist-era state sponsorship. I argue that these portraits of the president and other high-ranking officials should be considered as an instance of commercialisation of art. Portraiture invoked proximity of artists to their powerful sitters, government officials, and consequently made artists' work more attractive to a particular kind of domestic buyer. Furthermore, I argue that these practices of commodification enable an understanding of how socialist-era legacies of state sponsorship have converted into the logics of proximity to power. The Soviet-era personalistic connections to bureaucrats have transformed into the means for representation of artwork's market value in contemporary Kazakhstan. As such, Soviet legacies of clientelism have rendered state icons as significant authenticators of commercial value and therefore central to the emerging market.     

Medicine through the artist's eyes: before, during, and after the Holocaust

Pre-Holocaust German art celebrates the doctor as a hero, triumphant over disease and poor hygiene. It emphasizes the ontological conception of disease and the ability of medicine to cure pathology or remove it. Some New Objectivity artists question this conceptualization by pushing it to the extreme of realistic representations. However, the clinical encounter has virtually disappeared from post-Holocaust art. Medicine is depicted in three main ways: as an ambiguous and alien Faustian craft; with a focus on holistic notions of healing, thus avoiding biomedicine altogether; or with a focus on the subjective experience of illness, thus ignoring the interaction between medicine and the diseased person.     

Children's art as a helpful index of anxiety and self-esteem with plastic surgery

Children often cannot adequately express their feelings about physical issues that may be affecting them emotionally. Nonverbal communication with art has been a time-tested tool in understanding and interpreting the feelings of children under stress. For 27 years, the author has used art as a helpful index of anxiety and self-esteem in children undergoing plastic surgery for congenital, traumatic, and aesthetic problems. A child psychiatrist and an art therapist evaluated 200 drawings. The evaluations corroborated the need to "listen" to our patients no matter what their size.     

Le mammouth dans l’art paléolithique

The mammoth, an emblematic animal of the Prehistory, possesses an important place in the depictions made by prehistoric artists, both in parietal art (cave art) and in mobile art. Its image is known from the Aurignacian, at the beginning of the Upper Palaeolithic, until the end of the Last Ice Age, the Magdalenian. However, its geographical and chronological distribution is dissimilar. Mammoth depictions are generally more frequent during the Aurignacian where this animal is found engraved and painted in the Chauvet cave for example and carved from ivory in several cave sites of the Swabian Jura. The Magdalenian cave of Rouffignac and its 160 representations constitute a notable exception. From a formal point of view, the representations of mammoth are elaborated in a rather constant way, like the characteristic cephalic contour and the typical back of the animal, at least as it could be seen in nature. The representations are often even limited to a cursive line with a double curvature that expresses the pachyderm. On the other hand some drawings show intimate details. Sometimes the tusks of the mammoths are not indicated, but certain stylistic features, such as the ventral arch, are relatively reliable chronological markers. Finally, one cannot ignore the ethological or seasonal expressions that sometimes link the mammoths to each other, in a row or in confrontation. This animal obviously inspired the artists of the prehistory who created various portraits of the mammoth.     

Proposition méthodologique pour une étude des esthétiques du Mésolithique : une analyse sociologique-anthropologique de la fin du Tardiglaciaire et durant le Postglaciaire en Europe occidentale

Do the decorated productions cover esthetics, i.e. the whole of the symbolic systems of a culture of hunters-gatherers? How to leave this glance with the aesthetic requirements that we other Westerners, pose on all things… and to exceed the debate of the artistic expressions thought from the aesthetic point of view, like “works of art” objects and “stylistics” objects? It is out of question “to make a fetish” of the productions decorated “works of art” while placing them at the starting point with our reflexion, (Studying them from a functional, technological, typological, art for art, meaningful point of view…) but to associate another of dimensions of the aesthetic experiment, i.e., the context of the decorated productions.