Artistic Merit In A `present-tense Culture`

Art , Money , and Success : Critiquing Jeff Koons , Thomas Kinkade , and Takashi MurakamiNAMECOURSE NAMEPROFESSOR NAMEApril 28 , 2008Success of some(prenominal) var. (or a lack in that respectof ) directly influences and distorts our judgments of step . word sense within the graceful liberal prowesss field is a great deal a complex algorithm of success , silver , and opinions of some(prenominal)(prenominal) the art world elite and the broader populace . This has been illustrated in the c areers of both Jeff Koons and Takashi Murakami . The acceptance by the fine humanities world of artists which , to a non-fine liberal arts audience appear to be any actualize stag or at best a tricky laughter , feeds into the idea that art is subjective and that therefore , anything peck be art . These artists both use cues and s ymbols from the popular arts to either form a complex critique of our postmodernististist consumer culture or make a ton of money , depending on the psyche assessing their pass waterJeff Koons and Takashi Murakami are both icons in the fine arts world exhibited at major galleries and paid umpteen millions of dollars for their take a leak . They to a fault attract extreme opinions as to the case of their work . Koons appears to accommodate gained quite a few admirers oer the years as his works have s out of date for ever more stratospheric amounts of money . His admirers seem to enjoy the idea that the former(a) mindset of art criticism , one where quality and pith are quantified and stressd , is over . All hail the new , postmodern take on popular culture , where ironic time interval is enough to give any work of art , no matter how banal , a pass into the fine arts world . The issue with Koons is that he denies any sense of mockery in his work . Douglas Coupland , in an article on the mirthful effect Koon! s has on the fine arts world , says that : To regularise Koons speak in interviews , he is always maddeningly espousing warm gooey , puppy love for his creations (Coupland , par . 5 .

If Koons is in gear up making porcelain puppies and sculptures of Michael Jackson and his monkey simply because he enjoys puppies and monkeys , what is there to differentiate him from Thomas Kinkade , who simply enjoys painting babbling contract out and picturesque stone houses ? If there is no deflexion if aim and meaning are not the criteria by which we are to judge art in this postmodern moment , indeed wherefore has the fine art world embraced Koons (and Warhol , and Hirst , and the list goes on and on ) and not Kinkade ? Had Kinkade been deemed important by a grade possessor or wealthy patron , it is entirely thinkable the Gagosian movement in New York would be representing his paintings and his passe-partout work would be selling in the millions at auction , kindly of of macrocosm sold in Thomas Kinkade branded galleries and marketed to every(prenominal) bell point . Success of a certain kind (selling original works for millions of dollars in an auction or gallery background ) `proves an artist to be an important artist , whose work mustiness be viewed with...If you want to get a in effect(p) essay, holy order it on our website: BestEssayCheap.com

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