Search Results

Set of financial methods, instruments, and business models that are used in the Art market. Important developments since the 1960s include the spreading availability and use of art price information and price indexes (see Art index), the emergence of loans collateralized by artworks, repeated efforts to create art investment structures, and a strong growth in art market advisory services provided by wealth managers and new entrepreneurs (see also Investment).

The first major development has been the spread of art price information and art price indexes over the last half-century. After a few difficult decades, art price levels and public interest in the art market were going up again in the 1950s and 1960s. A number of books on the history of the art market and on art investment that were published around that time—Le Vie Etrange des Objets (1959) by Maurice Rheims, Art as an Investment...

[Tei shin; Kanō Yeitan Masanobu]

(b Salem, MA, Feb 18, 1853; d London, Sept 21, 1908).

American curator, scholar, collector, and educator. Fenollosa played a unique role in enhancing the appreciation of Japanese art in both its native country and within the USA. Educated at Harvard, after graduation he studied philosophy and divinity at Cambridge University, followed by a year at the newly founded art school at the Boston Museum of Fine Arts. He also formed important friendships with the collectors Edward Sylvester Morse, Charles Goddard Weld (1857–1911), and William Sturgis Bigelow (1850–1926).

In 1878, with an introduction from Morse, Fenollosa travelled to Japan for the first time, accompanied by his new wife, Lizzie Goodhue Millett, to teach political economy and philosophy at Tokyo’s Imperial University. Embracing Japanese art and culture, he became an active advocate for preserving the country’s art treasures and, with the Japanese artists Kanō Hōgai (see Kanō family §(16)) and Hashimoto Gahō, helped to revive the ...

(b Nagasaki, Nov 8, 1867; d St Petersburg, FL, Nov 21, 1944).

American writer and lecturer of Japanese birth. He was born to a Japanese mother and German father and brought up by relatives in Hamburg and, from 1882, in Philadelphia, where he studied art. Under the influence of the poet Walt Whitman, he decided to become a writer. Later he worked as a journalist in Boston, where he launched a literary magazine. When publication ceased, he moved to New York and began his freelance career.

Hartmann’s first article for Camera Notes was published in 1898 by Alfred Stieglitz, and he made regular contributions to Camera Work until 1904, but thereafter he published wherever he could and became a lecturer. He was one of the best-known spokesmen for photography in America, criticizing any work that did not make use of the fundamental qualities of the medium. A severe judge of early American painting, he singled out only Gilbert Stuart and John Vanderlyn for praise. Among later 19th-century American painters he preferred followers of the Barbizon school. His impact as a critic had lessened by the 1920s, although his views on the standards of 20th-century painting and photography attracted renewed attention in the 1970s....

One of the characteristics of Korean contemporary art is a continuous effort in employing and interpreting international art practices and discourses. Art movements from Europe and North America in particular, including Abstract Expressionism, Art informel, Minimalism, Conceptual art and Post-modernism, have influenced many Korean artists’ styles and ideas since the 1950s, providing formal and conceptual grounds for critical understandings and further experiments. Whilst some artists who maintained traditional art forms such as ink painting and calligraphy exercised modernist styles and abstract forms largely within the norms and conventions of traditional genres, a large group of artists proactively adapted to Western styles, employing new materials and techniques as well as the notions of avant-garde and experimentalism (see fig.).

A major critique of the reception of Western art and aesthetics came from ‘Minjung art’ (People’s Art) in the 1980s as part of instigating a nationalist and politically charged art strategy. Several art historians and critics who emerged in the 1990s also expanded the scope of the debate with postcolonial and pluralist points of view. The shift in social, economic and political environments played an important role in changing sensibilities in art, along with the advances of technology and new media in the 2000s. The high degree of diversity and sophistication of Korean art in terms of media and subject matters became widely acknowledged within and outside the nation, and an increasing number of artists started to work on the cutting edge of international art....

(b Yokohama, Japan, Oct 31, 1887; d Waterford, CT, Oct 11, 1966).

(). American writer. He taught English at Columbia University, New York, from 1919 to 1958, and became professor there in 1947. He devoted a lifetime’s research to tracing the origins of the legends of King Arthur, and to proving that they had their roots in Celtic mythology and were passed to the Continent by Breton and other story-tellers. Loomis also pursued an interest in art and art history; many of his early publications dealt with aspects of medieval Arthurian iconography, and it was this art-historical research that led him to postulate the Celtic origins of the legends. He continued, where relevant, to use his knowledge of medieval art to support his arguments. His Arthurian Legends in Medieval Art (1938), written in collaboration with his wife, was a comprehensive survey of Arthurian iconography up to 1500, the result of nearly 30 years’ research. His continuing interest in art history is evident in ...

Term for the return of lost or looted cultural objects to their country of origin, former owners, or their heirs. The loss of the object may happen in a variety of contexts (armed conflicts, war, colonialism, imperialism, or genocide), and the nature of the looted cultural objects may also vary, ranging from artworks, such as paintings and sculptures, to human remains, books, manuscripts, and religious artefacts. An essential part of the process of restitution is the seemingly unavoidable conflict around the transfer of the objects in question from the current to the former owners. Ownership disputes of this nature raise legal, ethical, and diplomatic issues. The heightened tensions in the process arise because the looting of cultural objects challenges, if not breaks down, relationships between peoples, territories, cultures, and heritages.

The history of plundering and art imperialism may be traced back to ancient times. Looting has been documented in many instances from the sack by the Romans of the Etruscan city of Veii in ...

(b Reedley, CA, Nov 25, 1919; d Walnut Creek, CA, Aug 30, 2000).

American landscape architect and educator. Sasaki taught from 1953 to 1970 at the Harvard Graduate School of Design (HGSD), where he was chairman of the landscape architecture department from 1958 to 1968. In 1953, Sasaki also opened his design practice, which, after several name changes (including Sasaki, Walker and Associates (1959–63), with former student Peter Walker, and Sasaki, Dawson, DeMay Associates (1963–75), with former student Stuart O. Dawson and architect Kenneth DeMay) and its growth from a handful of recent landscape architecture graduates to an interdisciplinary staff of 300 partners and employees, became (after 1975) simply Sasaki Associates, the firm that carries his name and philosophy throughout the world.

The son of Japanese immigrants who farmed in the San Joaquin Valley, Sasaki grew up with an appreciation of the relationship between nature and human endeavor. After Pearl Harbor and before he completed his city planning degree at the University of California, Berkeley, he was caught in the mass internment of Japanese-Americans. Sasaki earned a BFA in landscape architecture in ...

The final decades of the 20th century and the beginning of the 21st century witnessed an increasing propensity for artists to incorporate aspects of science in their own art. In many fields of scientific research—including the cloning of mammals, the genetic modification of crops, the creation of bioengineered organs and tissues, advances in nanotechnology and robotics, experimental research in how the human mind works and the study of artificial intelligence—the frontiers of knowledge pushed outward at an accelerated pace. In the spirit of creative inquiry, or in order to critique the goals and outcomes of scientific experimentation and application, artists regularly borrowed subjects, tools and approaches from science as a means to the production of art ( see fig. ).

In documenting and assessing the achievements of visual artists engaged with science, there was no broad consensus on the categorisation of artists’ work across the full range of activities, methods, motivations and use of materials. Assessments of artistic practice focused on artists’ work categorised by the traditional fields of science (e.g. artists who explore biology, artists who explore physical sciences). Other analyses of artistic practice focused on categories of art media (e.g. artists who use traditional means such as carving and casting to represent scientific discoveries, artists who explore and employ biological materials and scientific instruments)....

(b Jiangxi, China, July 14, 1920; d Greenbrae, CA, Dec 27, 2011).

American architect, teacher and writer. Born to American missionaries in China, Tyng graduated from Radcliffe College in 1942 and received her Masters of Architecture degree from Harvard University, Cambridge, MA, in 1944. From 1947 to 1973 she worked with Louis Kahn and was closely involved in the design of many of his buildings, notably the Yale University Art Gallery. During this time she was also Associate Consultant Architect for the Philadelphia City Planning Commission and Redevelopment Authority (1952–3) and for the Mill Creek Pennsylvania Redevelopment Plan. From 1968 she was an adjunct professor in the Graduate School of Fine Arts, University of Pennsylvania, Philadelphia; she also taught at several other colleges, and she practised architecture independently after 1973. In 1975 Tyng received a PhD in architecture from the University of Pennsylvania. Her highly theoretical research involved the interrelations between physical, natural, and psychic structures and their architectural application. Her dissertation discusses the mathematically based Fibonacci–Divine Proportion as a matrix, ‘linking unpredictable information bits in the brain … to precise proportional mean, or “essence”’. This she related to Jung’s theories of the collective unconscious. An early independent building by Tyng, the Walworth Tyng House (...

( fl Rome, 1562–90).

Italian painter and cartographer of Lombard birth. Little is known of his early life or career before his first documented commission in Rome in December 1562 for the design of maps in the Terza Loggia of the Vatican Palace for Pope Pius IV. It is unclear whether he came to Rome for this commission or whether it was awarded after his arrival. He worked on this project until September 1565, at which time he also painted a scene of the concluding session of the Council of Trent—his only known figurative work—on the walls of the same loggia. During his career he worked for a variety of prestigious patrons in addition to Pius IV, including Cardinal Alessandro Farnese and Pope Gregory XIII.

Vanosino played a key role in the development of cartography in early modern Italy. The advancement in map-making was largely due to the rediscovery of Ptolemy’s Geographia in 1406...

[ Huei-Zu ]

(b Taipei, Taiwan, 1961; d New York, NY, Feb 8, 1997).

Taiwanese curator and art historian. Yang immigrated to the United States at age 15. She received a BA in Art History from Yale University in 1984 that included a six-month sabbatical to Jinan University in Guangzhou to study Chinese in 1982. Yang was exposed to art from a young age through her mother, Suhwa Chou Yang, who ran the Hunglin Art Gallery in Taipei in the 1970s. Upon graduation Yang held internships at the Metropolitan Museum of Art and the Museum of Modern Art , both in New York, before accepting a position as Assistant Curator at the New Museum, New York, in 1988. Notable exhibitions she curated during her time at the New Museum include 1+1+1: Works by Alfredo Jaar (1992); Skin Deep (1993); and The Final Frontier (1993). She left the New Museum in 1993 to work as an independent curator and critic while studying to earn a PhD from the Institute of Fine Arts of New York University. In early ...