By Kevin F. McCarthy
Offering information regarding advancements within the visible arts international, this e-book promotes and research of the field, describing the features of visible arts shoppers, artists, funds, and association.
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Additional info for A Portrait of the Visual Arts: The challenges of a New Era
1). These data show that although museum attendees look a lot like the total population in most respects, they do differ in two important ways: they are better educated and have higher incomes. 17 Indeed, the effects of education become progressively stronger the higher the level of education attained. 18 It is not entirely clear what drives this education effect. 1 Demographics of Visual Arts Appreciation: Art Museum Attendance Total SPPA Population All Art Museum Attendees a Frequent Attendees b Male 45% 42% 41% White Married Age (median) Income (median) College graduate Total 86% 58% 47 years $44,140 26% 100% 90% 61% 46 years $53,695 49% 27% 91% 59% 45 years $55,395 55% 17% NOTE: Calculations are based on data from 2002 SPPA (NEA, 2003).
26 Halle’s (1993) description of the art owned by the families in his samples seems to confirm this point. robin-bobin robin-bobin Demand for the Visual Arts 29 ship rather than purchasing or collecting, the actual number of individuals who regularly purchase or collect from the general market is, no doubt, only a fraction of this figure. Whatever the size of the general market, the number of collectors and regular buyers in the fine arts market is much more circumscribed. Moreover, as prices rise, the number of potential buyers dwindles.
8 Since then, no single movement has claimed supremacy. Instead, as the visual arts world has expanded dramatically both nationally and internationally, new waves of arts criticism and scholarship have vied for their share of legitimacy (Szántó, 1997). In addition, art forms hitherto secondary in status to painting and sculpture—foremost, photography as well as video art, installations, and, more recently, new forms of digital art—have gained in critical and commercial acceptance. Indeed, the postmodern resistance to a linear or hierarchical arts discourse has made it possible for an unprecedented range of creative practices to compete simultaneously on the visual art world’s stage.