OZ Art NWA™’s Post

The wife and I are museum buffs, and so while we are here in Miami we visited one of the excellent art museums they have. It is called the Perez and it specializes in modern art. The wife and I like all kinds of art. I personally prefer the late 19th to early 20th century period. As I mentioned in our trip to LA, my favorite is John William Godward, an English painter in the Neo-Classicial style. But, I am also fond of the Pre-Raphelites, and of course the impressionists. But, modern art can be fun. Especially, the Surrealists. Great art and great fun. Unfortunately though quite a bit of the art of the late 20th and early 21st century is what the wife and I refer to as "Grievance Art." These are the artists who are angry with America and Western Civilization in general. And they seem to me, at least, to be obsessed with the issue of race and racism. I mean, you can't go to a modern art exhibit these days without feeling as if the sole purpose of the exhibit is to make you ashamed of being white. Take the exhibit we say at the Perez. The featured artist who had several rooms dedicated to his work was Gary Simmons. The title of the Exhibit was Public Enemy. And it was pretty clear from the artwork who the enemy is. It is the police and it is racism. One of the pieces was a display of child sized Klan uniforms as a metaphor I suppose for how children are taught to hate. The U.S. has an ugly history of racism, but frankly how much does this history need to be rehashed in modern art? Are they afraid we are going to forget? As if any aspect of academia, progressive politicians, or the mainstream media would let us. No, from the looks of things Grievance Art is here to stay. What might be an under considered area though, if I might suggest, is anti-semitism. Not the kind that is represented by the Klan. But, the kind represented by the anti-Israel type we see so prominent these days. Just a suggestion from an interested art lover.

🎨🖼️ During times of uncertainty, the #art market tends to prefer time-tested pieces like classic #landscapes. Berkley One's Katja Zigerlig, VP of Art, Wine + Collectibles Advisory, gives us a 2023 year-end look at the #marketplace and discusses ways to interpret landscape themes in art, the impact #museum exhibitions can have on an artist’s marketplace and more! Check out our blog to watch Katja's review on-demand, or simply follow this link: https://ow.ly/aQLv50QnAeC

In the dynamic realm of the contemporary art world, understanding the motivations and expectations of art collectors has become increasingly crucial. As the art market continues to evolve, collectors, both seasoned and new, play a pivotal role in shaping its trajectory. This article delves into the diverse factors that drive art collectors and the ways in which their expectations are influencing the current art landscape.

Grace Gordon tapped three experts in the field of art collecting — Zina Khair, Leila Heller, and Vanessa Fuchs — and brings you the best advice from them on how to become an art collector. Discover the art of art collecting, below.

Check out my latest Commonwealth Times article about the Fall 2024 Institute for Contemporary Art premiere!

WHAT IS A FOCAL POINT IN ART? Explore how an ARTIST , upon establishing the FOCAL POINT, employs bold lines, vibrant colors, intriguing textures & the powerful play of light to command the viewer’s attention, guide the eyes through a composition & ignite an enduring conversation with the artwork…. [definition]/ : def-uh-nish-uhn: The FOCAL POINT is where the eyes are naturally drawn to upon gazing at an artwork. Video Time: 68 Seconds—

WHAT IS A FOCAL POINT IN ART? Explore how an ARTIST, upon establishing the FOCAL POINT, employs bold lines, vibrant colors, intriguing textures & the powerful play of light to command the viewer’s attention, guide the viewer’s eyes through the picture plane while igniting an enduring conversation with the artwork…. [definition]/ : def-uh-nish-uhn: The FOCAL POINT is where the eyes are naturally drawn to upon gazing at an artwork. Video Time: 68 Seconds—

Inside Out: Representing the Romantic Museum is a collaboration between Sophie Thomas, Rhys Juergenson, and Erin McCurdy of the Toronto Metropolitan University and York University Communication & Culture- Joint Graduate Program at Toronto Metropolitan University & York University The exhibition examines how #museum spaces were conceptualized and visually represented in two-dimensional media forms, drawing examples principally from metropolitan #London. Many of the museums of the late eighteenth and early nineteenth century no longer exist. However, prints and paintings, often reproduced in #gallery guides, #periodicals, and ephemera, are valuable sources of information about the objects that they contained: from oddities and marvels to natural history specimens and revered #artworks. Such images also document the arrangement of objects and the display strategies employed by collectors and museums, as well as the visual idioms—and aesthetic categories—they used to capture and ‘frame’ their interiors. The contents of collections, and the manner in which they were presented to the world, closely reflect predominant paradigms for the organization of knowledge, which were undergoing significant change in the #Romantic period. The exhibition explores how public institutions and independent #collectors, in both public and private exhibition spaces, represented natural history, human biology, emerging technologies, and #archaeological discoveries, and how these displays were, in turn, represented by #artists. https://lnkd.in/gDGumeFa

🎨 Cultural Sensitivity in Art: A Recurring Theme in My Art History Degree 📚 The intersection of artistic genius and cultural sensitivity is a recurrent and significant theme in art history, one that continually shapes our understanding and appreciation of art. Gauguin's legacy is a poignant example of this complex dynamic. His work, while visually captivating and innovative, reflects the colonial attitudes of his time, raising important ethical questions about how we engage with such pieces today. 🤔 Throughout my Art History degree, this topic has been a focal point of discussion and analysis. We delve into the historical contexts of artists' lives and the prevailing attitudes of their eras, critically examining how these factors influenced their work. Gauguin’s relocation to Tahiti and his depiction of the local people through a Western, colonial lens is a prime case study. These paintings, though beautiful, often perpetuate stereotypes and exoticize their subjects, highlighting the power dynamics and cultural insensitivity of the colonial period. 🌍🎨 As Art Historians, we critically analyse how museums and galleries present such works, emphasising the need for educational contexts that inform the public about their historical and ethical dimensions. This approach is crucial in fostering a more inclusive and respectful appreciation of art. 🏛️🖼️ Museums and educational institutions are increasingly recognizing their responsibility to provide this context. They aim to educate audiences about the socio-political conditions under which art was created and the ethical implications involved. 📖👥 This theme is not just about acknowledging the past; it's about shaping a more conscientious and informed future for art appreciation. By continuing to question, learn, and advocate for culturally sensitive practices, we contribute to a richer, more respectful engagement with the diverse cultural heritage that enriches the art world. 🌟 For more insights on Gauguin and the broader discussion on cultural sensitivity in art, check out this thought-provoking article by Gina Fairley on ArtsHub. Engaging with these discussions enriches our understanding of art and its impact on society. What are your thoughts on balancing artistic appreciation with cultural sensitivity? 🤷♀️🤷♂️ #ArtHistory #CulturalSensitivity #ArtAppreciation #EthicsInArt #MuseumStudies

Over two decades in the art market, I've seen firsthand how quickly the tides can turn. The opulent, eclectic collections that once dominated have given way to a preference for minimalism and contemporary art. Scott Reyburn's recent article underscores the profound changes we're witnessing. The once-stable world of art and antiques is now marked by uncertainty, with major fairs changing and the tastes of collectors shifting rapidly. As we navigate this evolving landscape, one thing is clear: nothing in the art market is permanent. The values and trends we see today can—and likely will—change in the blink of an eye. The future of the art market is more unpredictable than ever. Adapting to these changes is essential, but so is holding onto the timeless principles that have always defined true art. Photo and Article in TAN More reflections on our Chronic Art Blog - Ssa-art.com #ArtMarket #Antiques #Collecting #Minimalism #ArtTrends #Change #ArtHistory #ArtBusiness #FutureOfArt