Lets just take a look at some reasons you should consider selling your art online.

Convenience

In the real world you have to sale your art in galleries, art festivals, fairs, libraries or any place that will allow you to place your art and sell it. Now consider you have to pack up your artwork and carry it to these places and in some of cases hung the work yourself. Also consider that the pieces that don’t sale you have to take them down, pack them up and carry them back to your home or studio

However, when you sell your art online you just put up some photos of your artwork on a website with some information on the size, medium and price and depending on where you put it you may be able to keep your artwork there indefinitely. Even if the artwork doesn’t sale on a site where it has to be removed, all you have to remove is a photo and some information. No packing and no carrying bulky paintings back and forth.

You Have Total Control

By selling your art online you take over total control of your art career. No more middlemen telling you how much to price your art for and then taking a cut of your money when the art sells. Galleries will take anywhere from a 40 to 50% cut of your art sales. Art Festivals will charge any where from $200 to $500 fees just to be in the festival and demand that you have a certain amount of inventory, which you have to pay for. If you don’t sell anything at the festival you are just out all of that money.

If you sell your art online you can decide when where and how long you have your art up on a website and although there are some sites that may charge you to have your art on them, most of the places are free and the ones that do charge it’s usually a very small amount. Also most places where you can sell your art online will let you set your own price and won’t charge you a commission. So you can keep 100% of your art sells. Also on most places that allow you to put art on their sites, you can put up as many or as little as you want.

A Worldwide Customer Base

When selling your art in the real world your art sales are usually limited to the place where your art is at the moment. If you are exhibiting at a gallery your art sales are limited to that gallery and the people that come into that gallery. If your art is being shown at a fair your art sales are limited to the people that see your art at that fair. I think you get the picture. For the must part in the real world your art sales is going to be limited to local or regional sales.

On the Internet you have a worldwide audience to market your art to. Because of selling my art online I now have my artwork in Japan, France, Great Britain, Canada and other places that I would not have been able to reach in the real world. It doesn’t matter where you are in the world you will be able to reach people from different countries. An artist in Italy can sell a piece of art to a buyer Russia or an artist in India can sell a painting to a buyer in the United States. Your online presence is your art gallery to the world.

I’m not saying not to sell your art in the real world, but as you can see by opting to sell your art online you have more control and a wider buyer reach. However there’s no reason you can’t do both.

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Iranian art as a complex and ambiguous art received changes in the history. It follows the Iranian spiritual feelings. Iranian art has a simple shape and it is far from European romantic and gothic periods, however, it is full of complexity and word play the complexity of Iranian art is the product of three geographic and historic factors. The first factor is orientalism about which Herbert Reid said: it has conceptual layers. The second factor is mixing with Islam around 1400 years ago and finally, connection western

world (because of Iranian special geography which was interrelated with Europe either by diplomatic relationship or by invasion. There for, Iranian art includes the beliefs of oriental art, Islamic art and western art.

Orientalism

Iranian art

Islamic art

Relation with western art

Delineation of each art’s territory is not easy. His relation between Iranian art not only in surface level but also in deep artistic concepts is combined. It is a unique combination which concepts are combined. It is a unique combination which was declared to the people of the world as Islamic. Iranian art unfortunately, the complexity of Iranian art caused one dimensional look at this art in the history. Because of lack of special methodology for understanding the hidden and fundamental concepts of Iranian art, it was always superficial. Undoubtedly, moving toward knowing of Identity of Iranian art needs complete study. The first step here is the review of mutual relation of different arts within Iranian territory. This book tries to explain Iranian art as a parallel in a collection. This book defines 3 main stages. The first stage is collecting different art as a descriptive art. In this stage different books have reviewed and the information of them is taken.

In this stage even some of the text have presented without change from different book.

In the second stage it was attempted to describe the unique model for comparing of different arts. By the charts. These charts are the collected on the base of historical times and the recognizing of artistic characteristic. And is formed like a chart. These charts are given in the end of the each chapter as an abstract.

In the third stage, the writer is trying to compare and deduce the basic concepts of charts that are reviewable as a basic principle of Iranian art theory.

Undoubtedly, the third stage that is presented in the end of this book is the only first factor of editing the principle of theory in the Iran’s art stage. The completing these theories and understanding the theme of Iran’s art as a complete form need to specialized researches in any artistic stage.

2-1 the problems of research

Because the theories sources of Iran’s art were limited and in this limited space of science, the most part of the researches have done by non Iranian researchers the editing and deep knowledge of Iran’s art is very difficult. The problem of using these artistic sources is presented in three Stages.

In the first stage, Iranian researchers usually have collected information without any editing of research method. In this stage the most information transformed from oral speaking to writing. The focus of attention of Iranian researchers is on the work itself it’s characteristics this factor cause the reasons of formation and creation of one work to be less displayed. There fore, it is impossible to analyzing the art’s substructure

In the second stage foreign researchers have collected works by editing the model of research. But unfortunately, the dominant thinking on the historical division is based on the west history. The difference of understanding history caused the very valuable works of second century to be less important.

Third stage is one dimensional look at art history: the third problem for achieving the historical encyclopedia of Iran’s art is non adaptation of different arts and their method of impressiveness on each other. This caused the effect of arts on each other to be less important.

3-1- the method of research

Because the achievement of art encyclopedia needs deep looking, the main center of historical reviewing in this writing is attention to analyzing history. Descriptive history is only presented in the end of each part as a table.

In editing of this collection two hypotheses is the center of collecting studies.

1) The impressionable of art in the field of socio culture

2) Time coincidence of different artistic varieties in these different arts.

The general model of this division is based on the conceptual division of art in which arts divide into general field that is visual arts and dramatic arts. But in the details of this divisions, did not observed the seven art model and the focus of attention is the main arts of Iran that is drawing, music, literature (poem)

The second point in the historical reviewing of art encyclopedia as the knowledge of historical indexes of that art. Arts are analyzed as a form of historical art until can review weak and strong point of each art. Because of this method of research, each art have historical principles and special swaying times for example, while Mongol attack had much effect on drawing art, the Alexander attack on architecture art.

The third point in this system is the collecting of information. Because of the vast scope of historical geographical art of Iran, some of the works have remained out of Iran and the more information has collected as a library. But in collecting of information have been tried that the information sources to be approved by several sources. Until we can refer to them this method of collecting information caused that the information to be valid. But in any case, some of the information remains unanalyzed. The forth point in this writing, is non attention to philosophical meanings of art. It is mean that the writer did not like to define art and have not involved this book in philosophical challenges, there fore undoubtedly; some of the presented works is not artistic works by the view point of audiences. As a matter of the fact that this works play a role in historical evolution of Iran’s art, they have been reviewed.

4-1- place territory

One of the problems of editing this writing was non existence of definite place territory. It is mean that the country of Iran, because of special geographical situation, have not definite political border and even caused in the some of the ages the name of this country to be deleted from the broad world. In any case, what has been reviewed in this writing had been the world meaning of Iranian art that undoubtedly the main part of this works is not in political border of Iran in the most historical times of under study Iraq eastern part of the turkey, the south of Russia an common wealth countries, Afghanistan and Pakistan is in the creation territory of artistic art of Iran that in this writing we had paid to it.

5-1- time period

The historical period which is studied starts from the first civilization in Iran and continues up to the current century. Because of that fact we can survey two main historical periods.

a) Before the Arian immigration. It includes the Mesopotamians

  Civilization and independent civilization in Iranian current physical map.

B) after the Arian immigration: It starts from around 3600 years ago and in the end it forms the Medes civilization after immigration and presence of the three tribes, namely, Medes, Parthian and Persia in Iran. This country declared independence and formed Achaemenians governments as a cosmopolitan government.

Unfortunately, almost all academic research and studies separated the Iranians before and after Islam, However the compiler does not believe in that and call it a political separation which was defined and designed by Islam. In case of study of history the Iranian arts formation stages will be crystallized.

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It is often difficult for an artist to find a gallery prepared to take their work.  Even if they do find an art gallery, the art gallery may restrict the number of art works hung and space or time permitted for an exhibition.  But the main problem for most newer artists is the question of being unknown.  Unless an artist is already known it is almost impossible to find a gallery willing to handle their work.  But how to become known and how to earn some income in the meantime?

Even when an art gallery is located and terms agreed there is the question of commission and sales tax which can mean that the gallery and the picture framer earn more than the artist.

The commercial aspect of a working life in art is a difficult one to manage.  It is rare that an artist makes a reasonable living from art without having to supplement with other work such as teaching.  An artist can also attempt to raise their profile by entering competitions and with luck and talent gain prize money also.

Artists are turning to the internet to increase their audience exposure and assist in making sales of their work.

Many on-line art galleries however have no selection criteria for work submitted and further they do not permit dedicated space for each artist.  The end result is that an artist’s work does not show in any cohesive manner, unless the user already knows the name of the artist and searches for their name.

On-line art gallery space with selection and dedicated gallery space per artist

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Find Healing Arts Classes in the United States and Canada. Healing arts classes are diverse in nature and teach a variety of natural healing and complementary medicine methods, remedies and specialized techniques. And because natural and integrative medicine is quickly gaining in popularity among patients, now is the best time for students to apply to any one of several natural health schools to achieve independent career goals.

For example, there are several healing arts classes that extend comprehensive training and education in therapeutic massage and bodywork. If you are serious about a career as a professional massage therapist, there are a great number of healing arts classes in massage that can be completed in as little as 300-500 training hours.* (Training hours depend on State requirements.) In these healing arts classes, students commonly learn the basics of anatomy and physiology, hygiene, CPR and first aid, and massage techniques. Generally, healing arts classes in massage therapy provide hands-on training in deep tissue massage, Swedish massage and sports massage; however, in more advance healing arts classes, students gain in-depth training in additional bodywork therapies including Asian massage, Chinese medical massage (Tuina), reflexology, lymphatic massage, myofascial release, Trigger Point, chair massage, prenatal massage, and geriatric massage, among many others.

Other healing arts classes are primarily focused on herbal medicine and aromatherapy. Since the two often go hand in hand with iridology, it would not be the least surprising to find an integrated course in these combined studies. Healing arts classes in iridology, for example, often provides future iridologists with necessary skills to “read” the iris of the eye, and to define possible disorders by certain markers in the iris. Common natural healing solutions that are taught in these types of healing arts classes include herbal medicines, aromatherapy and vitamins and supplements. Individuals who successfully complete healing arts classes in aromatherapy, iridology or herbal medicine are awarded with a certificate or diploma.

Some healing arts classes are dedicated to more advanced studies like naturopathy, homeopathy, chiropractic and acupuncture. These educational programs, however, commonly require about four years of studies, including prerequisite courses from an accredited college or school.

If you (or someone you know) are interested in finding healing arts classes, let professional training within fast-growing industries like massage therapy, cosmetology, acupuncture, oriental medicine, Reiki, and others get you started! Explore Ecareer school programs near you.

Healing Arts Classes Today

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Which comes first: the wall art or the wall? When selecting wall art, we have several options, including paintings, grilles, mirrors, shelves, and so on. Of course, the choices we make regarding these items are important. Some of the most important selections involve the type of wall art, its size, the arrangement we will use, and the wall art’s color. Speaking of color, before selecting the wall art, here are some tips to help select the best paint color for the room:

1. Carry textile samples with you

Remember that the paint color should complement the colors of other items in the room. It probably is not feasible to haul your furniture to paint stores. However, make sure to bring various textile samples with you, including pieces of wallpaper, curtain, tile, etc. That will make it easier to match them up with the paint. You never know when you will spot a color that could be THE color!

2. Select trim that complements the wall color

It is generally advisable to select a white, off-white or pale color for various types of trim in the room, including:

- doors

- moldings

- doors

To make an even bolder statement, use light hues for the walls, and darker hues for the trim. This combination will match up well with art wall decor.

3. Choose the color after you have decided on other decor

While painting a room is often the first step in decorating a room, never rush into doing that. Make sure to do enough planning first, to ensure that the paint will complement other items in the room, including the furniture, carpeting or throw rugs, drapes, wall art, etc. Yes, changing a wall color is easy and you have several hues from which to choose. Still, remember that the paint is only ONE piece of the big picture.

4. Choose the ideal paint finish for the walls

To reflect more light from the walls, use a finish that is shinier. On the other hand, use flat or matte finishes in order to hide flaws on the wall.

5. Choose a base hue for the wall paint

As a general rule, select a wall color that is a base version of the color. This will give you more options when selecting the hues of the various types of textiles. For instance, you could select lighter or darker tones of art wall decor, to contrast the hue of the wall’s paint.

6. Do your homework by studying the hues

Keep in mind that each color has a wide variety of hues. While painting walls is relatively easy, you probably do not want to add it to your daily routine. Study the hues of a certain color, to zero in on a particular hue. You may eventually select a lighter or darker hue than you had originally chosen.

Before choosing room decor, such as wood wall decor, ensure that you have selected the best wall color. That will ensure that the wall color will complete rather than collide!

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“Art is a lie that makes us realize truth.”- Pablo Picasso

What kind of lie does contemporary art support today?

What kind of truth are we realizing through the contemporary art?

Contemporary scene of visual art resembles the space filled with broken mirrors, where images reflect each other in the multidimensional sphere of media circus. The technique of cataloguing and classification, creation of categories, could serve as the key to the mapping and understanding of complexity of the multitude of approaches and streams that exists in today’s global art scene. Criteria for both, the creation and the selection are borrowed from random structures, and theoretically are questioning relevance of the evolution of art.

The initial categories for the whole system are those of matter and consciousness. They provide the trunk from which all the various branches of the other categories stem. All elements are so interconnected that, each can only be understood as an element of the whole. -Dialectical Materialism (A. Spirkin)

Determination of the significance of styles or tendencies, of the main art stream, groups or any other structures, will become irrelevant in near future. “Anything goes” was replaced by “And What?” With all the information and tools available today, everybody could become an artist. People of all professions are playing with new media. Does Garage Band make a musician, or graphic software a designer, or using digital camera a photographer? New technologies create a game where in competitive manner consequently everybody wants to win. Winning in art, means also experience “15 minutes of world-fame” and becoming a “superhero.” Consumer society deals with superficial substitution for happiness. Who is going to watch the game if everybody plays. Fortunately we can not play at the same time. Audience varies from small groups (family members and friends) to large social groups. In larger social communities, like national structures, demand for “heroes-artists” diminishes and culture is broken into small pieces of individualized performances of regional character. Researching tendencies of art scene behavior in context of contemporary philosophy of art we tend to accept a concept, that everybody is or could be an artist. The meaning, importance and consequences of such mind stream are very profound and have a great impact on cultural and social live. Why? It requires dropping the concept of conceptual thinking.

My artistic approach is created on such foundations. Not that I would be able to perform non-dualistic processes, but I am trying to pronounce a little speculative futuristic prognoses of the era after the end of art. Sooner or later this trend will be labeled as some kind of Unthinkable Art. Historically, realization of such path becomes a paradox to common sense (especially on collective level); however, similar trends are reflected in the air of the post-postmodern rain, and will soon appear on the sky as a rainbow.

Today’s curators are looking for unique and interesting angles to make their point across when using selective techniques for art shows. The usage of traditional approaches secures the system of art cycle, from creation to the distribution, and protects the capital of cultural bureau. Even the most alternative scenes (Technologies vs. Art, or other forums of so called “new media”) are not resolving the issue of foundation of the role of art on the contemporary global cultural platform, because they are based on the traditional curatorial, selective and preconceived mechanisms. What do I mean by that? I refer to the study of the designation processes of mind in relationship to the definition of what we labeled: The Art. As a reference to dialectic philosophies is an example of demonstration the potential of the idea pronounced by A.Danto, about art becoming philosophy. Such Ideas would need to be adopted, not only by artist themselves, but especially reformulated by structures that officially support the larger cultural platforms.

What are results of the conference that took place in Teheran in 2001? Art is still presented to the public in the manner of presentation from early 20 century. Structures that support such static views certainly do not elevate the public consciousness and awareness of issues of modern art world. The Artist Mark Kostabi makes allusion to the idea, of the art being a servant of market. Some curators are trilled by this statements. In the global picture of westernization, M. Kostabi’s phenomenon is becoming a guide – a hero, who is ideal combination of qualities, that contemporary artist should posses. It is also the best demonstration of lie that helps us to realize the truth about art of today.

Like a flashes of neon sign, art is reflected, from the pieces of mirrors everywhere.

Looks like a new quality of question have arisen since Arthur Danto published his ideas in book called “After the end of art, 1998. “Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time.” Art is becoming a philosophy.

I always believed in finding the answers in the space between, looking for the middle course. Neither postmodernism nor new media approaches are answers to the understanding of the positioning of the art of tomorrow. Postmodern world is a world of entertainment. It’s like an amusement park, where possibilities are endless and we feel overwhelmed for a while, but we have a need to relax from excess information and go back home.

Kostabi is one of those, who understood the art market, and because of his intelligence he penetrated the system, took advantage of it, so he can do whatever he wants. We pay for expensive tickets out of our pocket. I admire him because he realized the dream of every artist. Or is it not a dream of every artist to get recognized and sell art work all over the world?

If not, what is?

Is it still relevant to ask question, such as, what is Art? How do we deal with it? What is the nature of beauty? I would like to refere to the dialog between Einstein and Tagore from 1930.

EINSTEIN: There are two different conceptions about the nature of the universe – the world as a unity dependent on humanity, and the world as reality independent of the human factor.

TAGORE: When our universe is in harmony with man, the eternal, we know it as truth, we feel it as beauty.”

E: If there were no human beings any more, the Apollo Belvedere no longer would be beautiful?

T: No!

E: I agree with this conception of beauty, but not with regard to truth.

T: Why not? Truth is realized through men.

E: I cannot prove my conception is right, but that is my religion.

T: Beauty is in the ideal of perfect harmony, which is in the universal being; truth is the perfect comprehension of the universal mind. We individuals approach it through our own mistakes and blunders, through our accumulated experience, through our illumined consciousness. How otherwise can we know truth?

- by Dmitri Marianoff, published in NewYork Times, August 10, 1930

“Contemporary artists would never approach new horizons. One of the reasons of this failure seems to be the separation of artistic activity from speculative thinking.“

2001 Tehran Museum of Contemporary Art, International Conference on the Philosophy of Art.

What happened since the time of the conference? How to overcome speculative thinking, if it arises as a cultural result of values supported by society we live in?

How to identify or place individual art work into the world of already so complicated and diverse art scene, without compromising originality, respecting evolution in art? How do we deal with the fast passing, minute to minute changing tendencies of art? How the individual artist contributes to the art of its lifetime, and not just contributes to the 15 minutes type of history? What are the values, reasons of art of tomorrow? Is there analogy in art history to the situation of our era? What are the future forms of the visual exploration? What will the production of art going to be in near future, 10 years from now? What is the role of new media? Does artist have to be involved in the philosophy of art? Could individually created piece of art be created in isolation? If so, how are art processes structured on individual level and on the global level?

It is intriguing to think about becoming a pioneer of the new Era of Art. My motivation is to explore the field of possibilities. In have no interest in inherent aspect of art rather I am interested in the evolution of possibilities of artistic thinking. In 1999 I have graduated in Academy of Fine Arts in Bratislava, with installation inspired by I. Kabakov, where I exhibited my workspace with drawings and prints on floor and the white canvases, with intention to question the meaning of the art itself. White canvas was there to raise the question of reason for continuation of mark making and the End of art narratives. I have seen closed circle of possibilities. If anything was possible, and everything was an art; than nothing was an art anymore, so Art was Death. But as I realize today, that was just the beginning of my long journey to the realization of truth about art.

The Incredibles (2004) refreshed feelings about the End of Art.

“When everybody is a superhero than nobody is superhero”.

In order to continue in activities leading to product that is labeled as an art, I had to formulate and reconsider following facts:

1. Analysis of situation.

2. Underlying misconception of self and wrong motivations.

3. Formulating the solutions and strategies.

4. Continual fabrication and visual symbioses with reality.

1. ANALYSIS OF SITUATION

From the Teheran’s conference: Post-Modernism & Contemporary Art,

27 April – 1 May 2002

The Problems of Contemporary Art:

- Aesthetics in Contemporary Art

- The Fine Line between Artistic & Non-Artistic Work

- The Language & Expression of Contemporary Art

- Contemporary Literature & Art

- Contemporary Art & Technology

- Globalization & Contemporary Art

- Post-Modern Art: Features & Characteristics

- The End of Art

Post-Modernism & Trends of Contemporary Art:

- Minimalism

- Conceptual Art

- Land Art

- Video Art

- Body Art

- Anti-Art

- Local Art

- Feminism

- Post-Modern Architecture

Theoretical Origins of Post-Modern Art

Theoretical Principles of Modernism from the viewpoint of Modern Philosophers:

- Humanism

- Rationalism

- Subjectivism

- Nihilism

- Aesthetics

- Enlightenment

2. UNDERLYING MISCONCEPTION OF SELF AND MOTIVATION

I have slightly touched topics of traditional dilemmas of dualistic mind. The acceptation of dual aspect of things, leads to judgmental thinking, not only in art. Creation of categories is beginning of the tragedy of the era after the end of art. This is why Beauty and any other category could be defined, which leads to the continual labeling.

Definition of other reasons of misconception is based on juxtaposing Nietzche’s and Malraux’s models of art and processes of creation.

Nietzche

a. One seeks for oneself a less artistic public. The superstitious belief in the “genius”

b.One harangues the obscure instincts of the dissatisfied, ambitious, self-disguised spirits in a democratic age: importance of poses.

c. One transfers the procedures of one art to the other arts, confounds the objectives of art with those of knowledge or the church or racial interests (nationalism), or philosophy.

d.One flatters women, sufferers, the indignant, etc. False “intensification”.

Malraux Andre

Art is a display of universal creativity of individual. Through art work man was, and is, opposing and transcending limitations of his physique, his personal and social (historical) destiny. Malraux refuted to explain art works in relation to the biography of their creators, and was against this method in explaining motives and contents of art.

3. FORMULATING THE SOLUTION AND STRATEGY/ VISION-UTOPIA

a. Revival of Iconic Quality.

Because of the degenerated Era of Spiritual Values and the End of time of Old Gods; which migration and multicultural blend is responsible for, I am looking for Possibility of New Sacral Form. This is not a creation of transcendental art. It is a search for artistic form that allows the content to respect dialectic evolution of social wisdom, where an essence of sacral secrecy is highly respected. It is a new level of the sphere of new colors, shapes and structures. Renewal of art forms is based on reevaluation of sacral attributes from history and than elevating the forces of modern era which define motives and perspectives of redefined sacral forms. It is revival of existing symbols, on global level. It is not a creation of a new religion, but it is a new level of social consciousness. Form remains the same, mind is different. Technology, art and philosophy are integrated into continuous symbioses.

b. Role of the Artists, Galleries and Cultural Industry. Combination of Two Worlds. New Cultural Wisdom. Utopia.

This would be the end of “…marketing game governed by art dealers, Gallerists and publishers, who have to run the business of Cultural Industry.”

The society on global level would be governed by New Cultural Wisdom. Creation of art is not considered anymore as the act of creation. “The art will be spontaneous as breathing.” Artist is producing form, that is instantly and naturally blending into the environment, so the sub-consciousness is directed by wisdom that eliminates the dilemma of hierarchic model. Gallery space is no more required and the whole space is becoming a showcase. The whole space does not require the poses. It is an art of conscious depiction of picture plan, from retinal experience, or selection of the picture frame in consciousness and placing the required aesthetics upon it. Artists are fabricating art that is already blended into environment as natural portion of space and serves as perceptive potential for public depiction. Cultural Wisdom is defined by human consciousness that provides unlimited potential for defining the pictorial framing of reality, and its limits are limits of understanding the phenomenon of reality.

c. Clash of Civilizations. Global Culture. Meta-code, and New Artistic Religion.

We experience on global level formation of new cultural qualities that are based on cultural clashes. (Example: Global cultural experience is formed in LA house, with my Persian and Mexican friends listening to the Japanese techno music, eating Bulgarian cheese with Arabic bread, Russian pickles and drinking French wine while discussing Slovak culture, or latest fashion trends in London.) East meets west or south meets north processes are not completed yet and it is hard to predict the results from the cultural clashes. But we need to look at the presence as the formation of the universal space, where cultural identities will be redefined. This will result in temporary crisis of individual identities but eventually will lead to the identity of global consciousness.

Americanization of world can serve as model of globalization of globe with its positive and negative aspects. Migration to caves is limited. S.J.Lewy

4. CONTINUAL FABRICATION AND VISUAL SYMBIOSES

I would like to scratch the surface beyond the point of A. Danto’s philosophical questions about the end of art. Not that I would have “the guts” to elaborate on his ideas from philosophical perspective, but I just want to reflect on some fragments and articulate them strictly as an artistic vision.

“A philosophical question arises whenever we have two objects which seem in every relevant particular to be alike, but which belong to importantly different philosophical categories.

…and this is no less the case when seeking to account for the differences between works of art and mere real things which happen exactly to resemble them.

…for example, regards paintings as very complex perceptual objects. So they are, but since objects can be imagined perfectly congruent with those which are not art works, these must have equivalent complexity at the level of perception. After all, the problem arose in the first place because no perceptual difference could be imagined finally relevant. But neither can possession of so-called “aesthetic qualities’ serve, since it would be strange if a work of art were beautiful but something exactly like it though not a work of art were not. In fact it has been a major effort of the philosophy of art to de-aestheticize the concept of art. It was Marcel Duchamp, a far deeper artist than Warhol, who presented as “readymades” objects chosen for their lack of aesthetic qualities – grooming combs, hat racks, and, notoriously, pieces of lavatory plumbing. “Aesthetic delectation is the danger to be avoided,” Duchamp wrote of his most controversial work, Fountain, of 1917. It was precisely Duchamp’s great effort to make it clear that art is an intellectual activity, a conceptual enterprise and not merely something to which the senses and the feelings come into play. And this must be true of all art, even that most bent upon gratifying the eye or ear, and not just for those works which are regarded as especially “philosophical,” like Raphael’s School of Athens or Mann’s The Magic Mountain. Were someone to choreograph Plato’s Republic, that would not, simply because of its exalted content, be more philosophical than Coppelia or Petrouchka. In fact these might be more philosophical, employing as they do real dancers imitating dancing dolls imitating real dancers!

Where are the components for a theory of art to be found? I think a first step may be made in recognizing that works of art are representations, not necessarily in the old sense of resembling their subjects, but in the more extended sense that it is always legitimate to ask what they are about.

Now of course not all representational things are works of art, so the definition has only begun. I shall not take the next steps here. All I have wished to show is the way that the philosophy of art has deep questions to consider, questions of representation and reality, of structure, truth, and meaning. In considering these things, it moves from the periphery to the center of philosophy, and in so doing it curiously incorporates the two things that give rise to it. For when art attains the level of self-consciousness it has come to attain in our era, the distinction between art and philosophy becomes as problematic as the distinction between reality and art. And the degree to which the appreciation of art becomes a matter of applied philosophy can hardly be overestimated.” – A. DANTO

I believe that art should reach the level, where its own representation would be representation of the pure existence. What do I mean by pure existence? Ii is purification on the level of non creation. All creation is pregnant by its causes. Consequently purifying the causes of creation will purify the act of creation itself.

Global consciousness on the level of cultural wisdom will create the platform, where all representational things will become work of art. It would be consciousness and its possibility to frame the fragment of reality and apply the aesthetic quality upon it. The reality in cultural wisdom level is ultimately de-aestheticized. Marcel Duchamp’s idea of the danger of aesthetic delectation would be eliminated and his vision completed.

Every aspect of reality could become art, but Wisdom Culture does not allow the reality in dualistic (judgmental) sense to become the art neither on collective level, nor on any regional level. It would only exist as a potential view, on the level of one’s consciousness. However in later stages of development of wisdom culture, in the stage of ultimate equanimity, the nonjudgmental aesthetic experience of reality as ultimate art could be realized simultaneously in more than one person. Evolution of collective experience could follow. The result of such parallel experience manifests the evolution of human kind toward the subtle spiritual qualities and realization of inseparable quality of beauty from the existence itself. It is experience of highest aesthetics. This will lead to the formation of new social structure, where “shamans” will protect the global Sanctum.

The essence of the Sanctum is present in every aspect of reality, which holds the door to the potential creation, where the seed of the nature of beauty could be found.

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Art Investment Guide

Second only in size to the US market, The UK art and antiques market is worth well over £4 billion a year, and holds a global share of some 26% of the world’s total art sales. In terms of volume, the UK is the largest marketplace for art on the planet.(1). In 2005, the index covering sales of old masters showed growth of 18.8%, while the similar index covering post-war and contemporary art rose 8.3%. Over the past five years, the average annual returns were 3.1% and 17.7% respectively.(2). That’s a better return than investing in stocks and shares.

Buying art can represent a fantastic long-term investment opportunity. In order to help you make an informed decision on the art you buy through The Art Ministry website, we have put together some key considerations to bear in mind when selecting work from our galleries. With over 25 years’ experience in the art market, our team have followed the same steps to ensure all work available in our Online Store is fairly valued.

1. Buy what you like

It’s important to trust your own taste when buying art. Our aim in providing this collection is to offer artwork for every budget that adds interest to your home or office, a talking point that enriches your environment and lifestyle. Great art needn’t be expensive, and buying artwork should primarily be an expression of your own personality. Like stocks and shares, the value of artwork can go up or down, so it’s crucial you buy what you like and can afford. Ultimately the true value of art is in the pleasure or feelings it evokes. The more people that find it appealing the more demand increases, which inevitably increases the value.

2. Do your homework and understand the value of the work

When you view a piece of artwork to buy, pay attention to detail. If you look into the way it has been physically created, how much time it took and the journey the artist went through in producing the piece, you will come to appreciate the skill of the artist and the effort involved in making the work. When it comes to value, don’t be taken in by the medium either. For example, oil paintings are in general more expensive than watercolours, but the latter can require more skill to achieve the desired impression.

The more artwork you look at and the more background information you obtain on various artists and how they work, the more you will learn what you like and why. Comparing the merits of a work with other artist’s work will help you determine the inherent value in any given piece and assist your buying decision. If you want to know what similar work has sold for, use a source like The Art Sales Index, which has catalogued art prices since the 1950’s, or the Mei/Moses Fine Art Index, which tracks various auction price indexes and compares them to the stock exchange to gauge relative performance.

The comparative merits include:

The artist’s exhibition history

The nationality of the artist

What country the artist works in

The medium the artist uses

The size and dimensions of the piece

The price their work has sold for in the past

3. Buy from a reputable dealer

Only buy artwork from a reputable dealer. The best ones will provide extensive background information on the artists in their portfolio, giving details on how they work and what inspires them. Knowing the artist’s passion might also help you find a work that is right for you. Click here to read ‘About the Artists’ at The Art Ministry.

Reputable dealers will also provide a ‘Certificate of Authenticity’ with all original and limited edition artwork sold. This will be signed by the artist and proves the work is 100% genuine and has been accurately valued. These also include the following information:

The title and visual description of the artwork

Edition numbers and collection details

Materials and techniques used

Size and dimensions of the work

The copyright holder

Distributor details

Release date of the artwork

Printer’s details if relevant

Comments from the artist

Notes on caring for the artwork

Sources:

1. The House of Commons Select Committee on Culture, Media and Sport (Sixth Report)

2. ‘Is it just art, or is it investment?’ by Joe Bolger, Times Online 17th April 2006, quoting figures from the Mei/Moses Fine? Art Index

If you require more assistance with buying art from our website, please to contact us, alternatively, feel free to browse our to view the work of all our artists.

Looking for tips and advice on art and design, visit our blog.

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You wish to purchase a specific work of art…..but you want to make sure it is authentic. There are several important things to consider and facts to be aware of before purchasing art.

It is to your benefit to know if the art was signed by the artist and where and when it was created. Without this information you are buying a work of art because you love it and you are not going to consider its value, resale opportunities or insurance purposes.

So let’s look at some of the information that can help you in your future art transactions!

To begin with the encyclopedia describes Provenance as the origin or source from which something comes. The term is often used in the sense of place and time of manufacture, production or discovery. Comparative techniques, expert opinion, written and verbal records and the results of tests are often used to help establish provenance.

Provenance can take many forms:

*A signed certificate or statement of authenticity from a respected authority.

*An exhibition or gallery sticker attached to the art.

*An original sales receipt.

*Mention or illustration of the art in a book or exhibit catalogue.

If the art gallery, online auction or internet site does not mention a COA then ask them if they have one and who issued it. Ask to see a copy of the certificate and inquire if the COA comes with the purchase.

You want to know if this is the original work and not a reproduction of both the work and the signature. It is unfortunate but if an artist is highly collected and extremely popular then there is more of a possibility the work has been copied and the signature forged.

One forger of Master works in Holland was arrested when art authorities discovered trace elements found in blue pigment and artificial formaldehyde resin used as an undercoat to crack paint that did not agree with the crackling of the top layer as seen by x-ray photographs.

The following guidelines should assist you when reviewing the Certificate of Authenticity:

1. Title of Work

2. Date of Publication

3. Name of Publisher (for limited edition serigraphs and lithographs)

4. Edition sizes for limited editions

5. Exact dimensions of the art

6. Reference Books that list the art (specifically for famous artists)

All limited edition prints by Picasso, Dali, Chagall, Miro, and many other well-known master artists are documented in books called catalogues raisonne. If a catalogue raisonne exists then it should be noted on the certificate of authenticity.

When purchasing a signed art print check to see if it was part of a book, portfolio or catalogue. It is very rare that famous artists signed prints removed from these print media.

A description that says the art came from a major estate or from a well-known collector does not prove that a signature is genuine.

Many exhibition posters for museum or gallery shows of art by famous artists can also have signatures that cannot be authentic.

There are several things you can do to be more knowledgeable in the art world. You can purchase a great book called THE ART OF BUYING ART (Gordon’s Art Reference, 263 pages). It is the best and easiest-to-understand book on how to buy, sell, price, evaluate, appraise, and collect art. Bernard Ewell, Senior Member of the American Society of Appraisers calls THE ART OF BUYING ART “the very best book on the subject ever published” in a review in Personal Property Journal, the trade publication of the American Society of Appraisers. The American Society of Appraisers is the most respected appraiser organization in the country.

You can check auction house records on the Artprice and Artnet site. For works sold in the more distant past, you can contact the auction houses directly. You can collect Auction House catalogs featuring sales of some of your favorite artists. Many of these catalogs, from past auctions, are on sale on the internet.

Collectors and dealers sometimes affix identifying stamps or labels on the backs of artworks. Use them to crosscheck dealer records.

This topic as well as featured artists, artistic techniques and art resources are found in the “Art Collector’s Newsletter”. The monthly issues are for both the new and seasoned art collector. You can go to the website to get a FREE issue.

http://www.theartcollectorsnewsletter.com/

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Art schools offer programs that foster the intensive development of a creative mind. Yet they are not opening their doors to any and all dreaming poets. Such schools want students who demonstrate a real enthusiasm for their particular discipline.

How does a creative student demonstrate his or her enthusiasm for a particular type of artistry? Such a student needs to develop a portfolio. The student who wants to apply to an art school must assemble a collection of samples, samples that show his or her innovative and determined spirit.

The nature of those samples will depend on the type of program that the student hopes to enter. A student who wants to study fashion design, must have drawings of clothing that he or she has designed. A student who wants to study photography must have striking and compelling photographs within his or her portfolio. A student who wants to study music needs some audio equipment to share the contents of his or her portfolio.

Advances in technology have led to a sudden expansion of the programs at art schools. Such schools have added to traditional programs in dance, music, and design. The nature of those additions might best be viewed by examining the programs at CalArts.

CalArts is an arts school in Los Angeles County. Its development resulted from the introduction into that same region of the film industry. That introduction encouraged a close association between many different artists. CalArts seeks to guide creative young people who might take part in such an association.

CalArts has a large number of courses not found in all art schools. It has courses that focus on the design and production elements of filmmaking. Some of those courses teach students about stage lighting. Some teach the students about making scenery. Some courses introduce the students to specifics about costume design.

CalArts, like all art schools, offers its graduates help with finding that first job. Graduates who have learned some aspect of filmmaking might be encouraged to look for an internship opening. Any student who hesitates to become an intern might want to know the name of a past intern. Steven Speilburg began his career as an intern.

CalArts also steers graduates towards the establishment of contact with those who can help the graduates to expand their network of relations. Networking is an important way to find a job, especially after one has completed the coursework at one of the art schools.

Sometimes CalArts helps a graduate to become a personal assistant for a professional in the movie industry. Such an assistant is not a glorified “gopher”. Such an assistant night enjoy an introduction to one of the unsung players in the filmmaking world.

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On a day when an overcast spring sky cast a gray pall over Hong Kong, the outlook inside the sales rooms at Sotheby’s was much less gloomy. The house held the year’s first major international auctions of 20th-century Chinese art and contemporary Asian art, and many works elicited spirited bidding in the room and on the phones. On a surprisingly successful day, a number of record prices were established.

The morning session, devoted to 20th-century Chinese art, proved the strength of the category, with 44 of 55 lots selling, most of them by “modern” masters. The auction brought in an impressive HK$92,693,750 (US$11,862,019), well above its pre-sale high estimate of HK$51.12 million.

Five of the top ten items at the session were by the French-educated, mainland-born painter Lin Fengmian, who was persecuted during the Cultural Revolution and forced to destroy many of his works. He died in Hong Kong in 1991. An educator as well as artist, Lin is considered a pioneer of a school of Chinese art that blends traditional aesthetics with European compositions and use of color. In 2007, the Hong Kong Museum of Art honored him with a large retrospective.

An Asian private collector paid HK$16,340,000 (US$2,091,030) for the artist’s Fishing Harvest, setting a new auction record. The work was sold by the estate of Lorenz Petersen, a Danish former ambassador to China, who acquired it directly from the artist in the 1960s, when the worst years of the Cultural Revolution were still to come. Sotheby’s gave the work a modest estimate of HK$3¨C3.5 million.

At the afternoon sale of contemporary paintings, photography, video, and sculpture from China, Korea, Hong Kong, and Japan, the dour economy and the diminished appetite for “new” Asian art was more palpable. The sale netted HK$66,434,000 (US$8.5 million), which was within the scaled-down pre-sale estimate range of HK$59.1¨C82.9 million (US$7.5-10.6 million). But with bids coming not only from Asia but also Europe and the U.S., Sotheby’s head of contemporary Asian Art, Evelyn Lin said: “We are very pleased and encouraged by today’s results. Top-quality works by all the leading Chinese artists found buyers and sold well, and we also saw some exciting prices for conceptual Art and Japanese, Korean, and Hong Kong artists.”

The session’s brightest spot, literally and figuratively, was a record-setting sculpture by Japanese artist Yayoi Kusama. Pumpkin, a yellow plastic pumpkin about one cubic meter in size and adorned with the artist’s signature polka dots, surpassed its pre-sale estimates of HK$1.5¨C2 million to earn HK$2,720,000.

Records were also set for Chinese artists. Sixty-Year Cycle Chariot, a conceptual piece by Huang Yongping, brought in HK$3,380,000, more than double its high estimate of HK$1.5 million. Legacy Mantle, a rusty, roughly 10-foot-tall iron sculpture of a Mao jacket by Sui Jianguo, sold for a solid HK$3,140,000 (est. HK$2.5¨C3.5 million).

In total, 74 percent of the lots sold, a respectable showing in the credit-crunch era. The top lot was an untitled painting by Zhang Xiaogang, which sold for HK$4,820,000 (est. $HK4¨C5.5 million). Second was Hat Series ?? Armed Forces by Yue Minjun, at HK$4,580,000 (est. HK$3.5¨C5.5 million). Yue remains an auction favorite, and his Archeology was snapped up for HK$2,060,000, nearly tripling its high estimate of HK$700,000.

Despite these results, though, several works by big names that just a year ago would have inspired an instant buying frenzy failed to meet the reserve prices. Among the notable casualties were pieces by the crowd-pleasing Pop artist Wang Guangyi and Cai Guo-Qiang’s wall-sized gunpowder painting Project for Museum der Bildenden K¨?nste Leipzig ¨C Drawing for Ascending.

Chinese Wholesale Oil Painting

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