March 7, 2017

A Portrait of the Visual Arts: The challenges of a New Era by Kevin F. McCarthy

By Kevin F. McCarthy

Supplying information regarding advancements within the visible arts international, this publication promotes and research of the sphere, describing the features of visible arts shoppers, artists, funds, and association.

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2 consume it. This preference is likely to be especially true for occasional arts participants, which would lead them to select museum attendance over the performing arts since museum attendance involves less scheduling, requires less time, and allows them to choose among a variety of works of art. Finally, price may be a factor in a preference for attending visual arts events. Admissions to museums, while rising in recent years, are still substantially lower than tickets to the ballet, opera, or theatre.

The fine arts were often mixed with other collectibles in the early museums and in art exhibitions. During the 1870s, major museums were founded in New York (The Metropolitan Museum of Art), Boston (the Museum of Fine Arts), Philadelphia (the Philadelphia Museum of Art), and Chicago (the Art Institute) that were dedicated exclusively to the fine arts. As Taylor (1975, p. ” By the turn of the century, the art museum’s initial educational focus began to be superseded by a growing concern for aesthetic purity that “values art as an end in itself, but not because it fulfills some other purpose” (Weil, 2002a, p.

Easily accessible and frequented by relatively diverse audiences, the concept of the museum for some has evolved into a “public square”—a fulcrum of civic life alongside places of worship and shopping malls. During the late 1970s and early 1980s, a series of developments led museums to pursue broader public involvement and a more active role in society. Neil Harris (1999) cites three specific developments as driving this change: First, rising costs and the declining real value of endowments drove museums to dramatically expand their efforts to cultivate public support; second, public protests about the limited scope of museums’ audiences and the nature of the art that they collected and exhibited provided an ideological imperative for museums to concern themselves with social equity; and, finally, the development of ideas and approaches in the international museum community provided a theoretical underpinning and an example for changing the way American museums operate.

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