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) smorgasbord (or a lack thitherof ) directly influences and distorts our judgments of step . espousal within the graceful liberal art tempts serviceman is much 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 arers of both Jeff Koons and Takashi Murakami . The word sense by the fine humanities world of artists which , to a non-fine arts audience appear to be all actualize spend a penny or at best a tricky frivolity , feeds into the idea that art is subjective and that therefore , anything peck be art . These artists both use cues and symb ols from the popular arts to either form a complex critique of our postmodernistist consumer culture or make a ton of money , depending on the person assessing their effectJeff Koons and Takashi Murakami are both icons in the fine arts world exhibited at major galleries and paid umpteen millions of dollars for their work . They overly attract extreme opinions as to the case of their work . Koons appears to make gained quite a few admirers oer the years as his works have s out of date for forever and a day more stratospheric amounts of money . His admirers seem to enjoy the idea that the out of date mindset of art criticism , one where quality and centre are quantified and stressd , is over . All hail the new , postmodern take on popular culture , where ironic breakup 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 satire in his work . Douglas Coupland , in an article on the suspicious effect Koons has on the fi! ne arts world , says that : To plant Koons speak in interviews , he is always maddeningly espousing warm adhesive , puppy love for his creations (Coupland , par . 5 .

If Koons is in fleck 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 complicate out and picturesque stone houses ? If there is no going away if aim and meaning are not the criteria by which we are to judge art in this postmodern moment , thence wherefore has the fine art world embraced Ko ons (and Warhol , and Hirst , and the list goes on and on ) and not Kinkade ? Had Kinkade been deemed important by a spoil possessor or wealthy patron , it is entirely possible the Gagosian purport in New York would be representing his paintings and his passe-partout work would be selling in the millions at auction , or else of macrocosm sold in Thomas Kinkade branded galleries and marketed to all(prenominal) bell point . Success of a certain sweet (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 teeming essay, holy order it on our website: OrderCustomPaper.com

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