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By Kevin F. McCarthy

Delivering information regarding advancements within the visible arts global, this e-book promotes and research of the field, describing the features of visible arts shoppers, artists, funds, and association.

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Perhaps most important, these three institutions have shaped the operation of the visual arts world in a way that clearly differentiates it from the other arts. These differences are manifest in how individual art works are evaluated and consumed, the skills that determine artists’ prestige and earnings, and how the visual arts system is organized. 11 The qualities used to evaluate individual art works in these two art forms differ markedly. 12 By contrast, key features of performing art works are the interpretation the performing artist brings to the art, the quality of that performance, and its reproducibility.

11 Indeed, for the vast majority of Americans who are involved in any way with the visual arts, it seems fair to say that this involvement entails occasionally attending a museum or art fair and, perhaps, watching a television program about the visual arts. However, the range in variation of participation in the visual arts is not captured by a tally of the proportion of the population who attends a museum once a year. 12 The sum of these latter two categories accounts for the 43 percent who attended at least one art exhibit a year—a percentage that exceeds the comparable figure for attending a live performing arts event (32 percent).

Wealthy patrons commissioned works of art largely for their own pleasure or to be shared in private viewing galleries. Art appreciation as a public pastime began to emerge with the ____________ 1 See, for example, Janson, 1964. 9 robin-bobin robin-bobin 10 A Portrait of the Visual Arts: Meeting the Challenges of a New Era rise of a bourgeois audience in 18th century France, who helped shape artists’ reputations by choosing to attend exhibitions. The circle of public appreciation widened in the late 19th century as museums began to proliferate and art criticism emerged (Sherman Lee, 1975).

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