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Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis.

Various kind of Kala is one of temple ornament, that are patterned face of the giant's head Kala at every Hindu Indonesia Java temple entrances. Kala's ornament is come from India named Kirtimukha. It has beautiful form, strange, unique and mythic, it also is noted by many parties. Its presence raises contradiction. Giant Kirtimukha was born out of anger of Siva, which raised a fire of anger from between her eyebrows. Kirtimukha that has very big power called Mahakala, with grim face, grinning mouth and sharp fang, killer and cannibal, was assigned to keep the palace/temple. Giant Kirtimukha or Mahakala is ornament of palace doors in India deva and Java temple, and then spreads to the East Java named Banaspati, to Bali named Boma, the mask, Betara Kala, Barong, Gupala, Bhutakala and others. Frequently, the word Kala is also associated with time and the sun. Each Kala in separated region has its own form and function. Heaven Palace buildings architect named Wisvakarma. Kala as temple ornament in Dieng is classical style built on (± 600-900), in Plaosan Lor is middle classical style built on (± 900-1250 AD), in Panataran temple is late classical style built on (± 1250-1400 AD ). Form and function changes in classical style Kala were done in anthropomorphich, metamorphosis, deformative by creative and innovative artist in each period. Period of Hindu artist produce classical Kala ornament as enterance guard on temple or and the like. Period of Islam produces Batara Kala and Gunungan Wayang Kulit Purwa and others.The change of the political, religious and authorities in various regions, is a major cause of changes in form and function of Kala. In a classic Indonesian Hindu temple, Middle and modern period Kala have different name and form, but his function still as an ornamental and security guard of its owner. Modern period produce new type of reliefs and paintings for building wall and many others. Kala ornament is created by creative and innovative artist ranging from design, preparation of materials/equipment and the forming, till producing giant pattern art works or mask.Â

This collection of essays, co-edited with Katie Scott, redefines the study of the decorative arts in eighteenth-century France. It includes broader accounts of the impact of Enlightenment philosophy in shaping the understanding of the 'decorative arts' alongside case studies of silks, furniture, and architecture, drawing on recent theories of the body and space. Alive to the everyday pleasures found in objects, furnishings and dress, the volume illuminates the material worlds of consumers, from the extravagance of the court to the more modest taste of middle-class families, linking these material worlds to political and social life. The culture of luxury goods is considered alongside the changes to dress and design in the Revolutionary period

This article synthesises diverse material to discuss both state use of the arts for the purposes of controlling prisoners and the broader public, and the use made of the arts by prisoners and portions of the broader public as tools of resistance to penal states. The article proceeds with an analysis of the politics surrounding and underpinning the philosophy, formation, operation, effectiveness, and research evaluation of arts-in-prisons programmes in the contemporary Anglo-American world. It argues that arts-in-prisons programmes and pertinent evaluation research are often employed as means to a variety of latent ignoble ends, with 'decorative justice' – the function of masking the injustices and painful nature of imprisonment behind claims of fairness, benevolence and care – chief amongst these ends.

This chapter discusses the history of bicycle art, examining how artists from the early twentieth century onwards have used the bicycle as a device for exploring issues of identity, injustice and inequality. The discussion considers work by a number of artists from around the world, but the principal case studies are contemporary artists Ai Weiwei and Rainer Ganahl. This chapter examines the way these artists have used the bicycle as the symbolic device through which to explore questions of contemporary capitalism and technology, political repression and freedom of movement, economic inequality and nationhood, as well as masculinity, sexuality and individual identity. Both artists have also used the bicycle as a tool with which to make art in a variety of media, and this chapter argues that their work invites us to reflect upon cycling cultures and the bicycle's transformative political potential as a device that enables us to see and experience the world differently.

Pasadas de moda las especulaciones sobre «el fin del arte» y «el fin de la historia», el entramado discursivo y conceptual que les dio forma en el debate norteamericano se vuelve evidente como parte estructural de su objeto. Su pregunta fundamental es aquella por la relación del presente con el pasado histórico y por la historicidad de esa relación. La trilogía novelística The Dancers at the End of Time (1972–1974–1976), de Michael Moorcock, simultáneamente enuncia, dramatiza y encarna esta preocupación. El autor —emblemática figura del fantasy y la ciencia ficción de la segunda mitad del siglo XX— proyecta hiperbólicamente sobre un futuro remotísimo una constelación de referencias culturales que evocan a la vez el fin de siècle decimonónico y «la posmodernidad». El conflicto se cataliza al irrumpir una mujer procedente de 1896 en la neoesteticista sociedad del Fin del Tiempo. Para comprender la propuesta y la importancia histórica de la serie, este artículo reúne en un mismo plano comparatístico la teorización implícita en este producto de genre fiction y las «ficciones teóricas» de autores como Jameson, Danto, Huyssen, Fukuyama, Sontag y Baudrillard. Particularmente se interroga sobre el impacto político–ideológico del reconocimiento de la constructibilidad de las «épocas» (pasadas y presentes) y sobre la posibilidad de una redención de la historia, entre los mitos del progreso y la decadencia. ; Long after the speculations regarding «the end of art» and «the end of history» reached their peak, the discursive and conceptual framework that shaped them in the American debate has become evident as a structural part of its own object. Its main concern is the relation between the present and the historical past and the historicity of such a relation. Michael Moorcock's novelistic trilogy The Dancers at the End of Time (1972–1974–1976) simultaneously states, dramatizes and embodies this concern. The author —one of the leading figures of fantasy and science fiction in the second half of the twentieth century— imagines a far-future scenario that hyperbolically feeds off both fin-de-siècle and «postmodern» cultural references. The sudden appearance of a woman coming from 1896 in the neo-aestheticist society of the End of Time acts as a catalyst for the dramatic conflict. In order to understand the series' qualities and its historical relevance, this papers builds a comparative framework joining the implicit theorizing in this product of genre fiction and the «theoretical fictions» of authors such as Jameson, Danto, Huyssen, Fukuyama, Sontag and Baudrillard. Above all, it examines the political and ideological impact of acknowledging the fabricated nature of «epochs» (past and present) as well as the possibility of redeeming history, between the myths of progress and decadence.

International audience ; It is with the point of view of art, as much ars as techné, that the article approaches the question of digital data. This approach will allow us to take a critical side step towards what is understood in terms of "creation", "innovation" and "appropriation". With ars, we will show how avant-garde artistic movements deny the qualities attributed to them by offering counter-biases to purely positive approaches. With the techné, we will observe that data processing, considered as an art, resides in the opening of its objects, code or data. The consequences of this attitude, which is achieved through art, are anthropological and political: what freedoms, what uses are made of data and, more globally, what model of society? It is a question of considering data as elements of language, computer code and human expression, so that the calculating machines, mimicking human intelligence, do not become confused with human subjects, the only ones capable of political decisions. Art (ars & techné) is here an acting mirror that shows the face of a possible humanity in the era of the digital and the internet. ; C'est avec le point de vue de l'art, en tant qu'il est autant ars que techné, que l'article aborde la question des données numériques. Cette approche va nous permettre un pas de côté critique vis-à-vis de ce qui est entendu en termes de « création », d'« innovation » et d'« appropriation ». Avec l'ars, nous montrerons comment les mouvements artistiques d'avant-garde nient les qualités attribuées à leur endroit en offrant des contre-biais aux démarches purement positives. Avec la techné, nous observerons que l'informatique, envisagée comme un art, réside dans l'ouverture de ses objets, code ou data. Les conséquences de cette disposition d'esprit qui se fait par le biais de l'art sont d'ordre anthropologique et politique : quelles libertés, quels usages faits des données et plus globalement quel modèle de société ? Il s'agit d'envisager les données comme éléments de langages, code ...

International audience ; It is with the point of view of art, as much ars as techné, that the article approaches the question of digital data. This approach will allow us to take a critical side step towards what is understood in terms of "creation", "innovation" and "appropriation". With ars, we will show how avant-garde artistic movements deny the qualities attributed to them by offering counter-biases to purely positive approaches. With the techné, we will observe that data processing, considered as an art, resides in the opening of its objects, code or data. The consequences of this attitude, which is achieved through art, are anthropological and political: what freedoms, what uses are made of data and, more globally, what model of society? It is a question of considering data as elements of language, computer code and human expression, so that the calculating machines, mimicking human intelligence, do not become confused with human subjects, the only ones capable of political decisions. Art (ars & techné) is here an acting mirror that shows the face of a possible humanity in the era of the digital and the internet. ; C'est avec le point de vue de l'art, en tant qu'il est autant ars que techné, que l'article aborde la question des données numériques. Cette approche va nous permettre un pas de côté critique vis-à-vis de ce qui est entendu en termes de « création », d'« innovation » et d'« appropriation ». Avec l'ars, nous montrerons comment les mouvements artistiques d'avant-garde nient les qualités attribuées à leur endroit en offrant des contre-biais aux démarches purement positives. Avec la techné, nous observerons que l'informatique, envisagée comme un art, réside dans l'ouverture de ses objets, code ou data. Les conséquences de cette disposition d'esprit qui se fait par le biais de l'art sont d'ordre anthropologique et politique : quelles libertés, quels usages faits des données et plus globalement quel modèle de société ? Il s'agit d'envisager les données comme éléments de langages, code informatique et expression humaines, de façon à ce que les machines calculantes, mimant l'intelligence humaine, ne se confondent pas avec les sujets humains, seuls capables de décisions politiques. L'art (ars & techné) nous est ici un miroir agissant qui montre le visage d'une possible humanité à l'ère du numérique et de l'internet.

The treatment of war wounds is an ancient art, constantly refined to reflect improvements in weapons technology, transportation, antiseptic practices, and surgical techniques. Throughout most of the history of warfare, more soldiers died from disease than combat wounds, and misconceptions regarding the best timing and mode of treatment for injuries often resulted in more harm than good. Since the 19th century, mortality from war wounds steadily decreased as surgeons on all sides of conflicts developed systems for rapidly moving the wounded from the battlefield to frontline hospitals where surgical care is delivered. We review the most important trends in US and Western military trauma management over two centuries, including the shift from primary to delayed closure in wound management, refinement of amputation techniques, advances in evacuation philosophy and technology, the development of antiseptic practices, and the use of antibiotics. We also discuss how the lessons of history are reflected in contemporary US practices in Iraq and Afghanistan.

This project is an exploration of Islamic influences on the Adoration of the Magi (1423) by Gentile da Fabriano. The use of pseudo-inscriptions and Eastern textiles in the painting are central to the investigation of the work. I discuss the contact between the Republic of Florence and Muslim regions and the role of trade, crusades, and political contact on the arts of Quattrocento Florence. I analyze the extent of patron's contributions to the iconography in the altarpiece and the social and political implications of the piece.

Mainstream monetary theory has been subject to critiques from heterodox economists from the post-Keynesian and Marxist traditions yet, the monetary reform movement has been critical of political economists from all traditions for failing to identify the private issue of money as the central problem. In the United Kingdom, for instance, credit monies emanating from private banks constitute 97Shakespeare 2002). This paper reviews elements of the classically-derived mainstream view, and its critics, and evaluates the claims of monetary reformers. Stephen Zarlenga, for instance, in his historical study of the political economy of money, suggests that the (unnecessary) acceptance of the private creation of money precludes the possibility of a state-sanctioned ?money of account? (Zarlenga 2002).This cartalist notion of state-money, (perhaps mistakenly) citing Aristotelian origin, is seen as indispensable for effective monetary reform today. It is proposed that money is issued and established by law that is deliberately intended to exceed its intrinsic value, when functioning as a measure of commodities. Yet, this paper argues that these reformist ideas have been unfair in their historical treatment of Marx, Smith and Keynes, who had more sophisticated ideas on monetary matters than is credited. Notwithstanding, Zarlenga?s (et al) work serves to illuminate an interesting arena for future research.

This paper will first consider general bibliographic aspects of the Meishu Congshu. Then it will consider the historical meaning of this pervasive publication through only one publisher in times of massive political, economic, social, and cultural change as it pushed to the forefront the European concept "fine arts" and the Japanese translated term "bijutsu" that includes paintings, sculpture, craft and architecture -- a concept that had not existed in Asia prior to the modern era.

Setting out from Okakura Kakuzō and Ernest Fenollosa's famous "discovery" of the Yumedono Kannon, this article will trace the contested construction of the categories of "religion" (shūkyō) and "fine art" (bijutsu) in Meiji Japan. In religious studies circles, it has become commonplace to think of "religion" as the only disciplinary master category with issues. However, not only was "religion" invented in Japan, but "fine art" was invented there too. Indeed, categories from "culture" to "society" to "politics" have similar issues. Attending to these will help refocus crucial debates away from an obsession with translation and onto more fundamental issues about "cultural categories" as such. This paper will advance the debate by explaining the attendant constructions of "religion" and "fine art" as process social kinds. In doing so, it will showcase the museum and the temple as central sites of materialized disputation over global categories and their local instantiation. It will show how assimilation to the world-system in the long nineteenth century was a complex multi-generational process of negotiation and contestation, producing new hybrid spaces, returns, transformations, and innovations that then reflected back on global systems, changing them in subtle but profound ways.

Antonin Proust (1832-1905), political figure, friend of the artists, historian, critic and salonnier, played an important political and cultural part. The life of this liberal republican is a plea for the protection of arts in the service of the Republic. He connects economic structure with artistic institutions and constantly advocates the useful arts. His aim is economic: to train artists in the service of the industry. He creates art schools and encourages the introduction of design at school. As budget rapporteur, he supports the protection and the development of arts. The unification of the arts which he advocates results in the creation of the ministry of the Arts. Advocate of the heritage, he takes part in the foundations of the Musée de sculpture comparée, of the musée des Arts décoratifs, and founds the École du Louvre to train curators. Buying for the State the works of Millet, Courbet and Manet, he promotes rebellious artists, unruly to the Academy of fine arts, and emerges as a partisan of controversial works. Organizing exhibitions to the glory of Courbet or Manet, he advocates boldness, individuality, freedom and naturalisme. Real artistic, industrial and political propaganda, the World Fair of 1889 which he organizes concretizes his ambitions. He gathers fine arts and useful arts. The Art Nouveau takes root there to blow up in 1900. His successes did not allow Proust to enter the history, but his action bore fruits in the sustainability of the structures he defended the foundation of or in the boom of craft arts and of the art market. ; Antonin Proust (1832-1905), homme politique, ami des artistes, historien, critique et salonnier, joua un rôle politique et culturel important. La vie de ce républicain libéral est un plaidoyer pour la défense des arts au service de la République. Il lie étroitement structure économique et institutions artistiques soutenant sans cesse les arts utiles. Son but est économique : former des artistes au service de l'industrie. Il crée des écoles d'art et favorise ...

Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti&mdash ; as the primary form of hip-hop expression&mdash ; began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O&rsquo ; Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop&rsquo ; s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.