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The four agencies encompass the questions of "who, what, when, where and why", and are as follows: Artist – the role of the artist where the art work is explored as the product of practitioners such as artists, artisans, craftspeople, architects and designers. The artist can be seen as an individual or as a group or movement.
Social practice or socially engaged practice [1] in the arts focuses on community engagement through a range of art media, human interaction and social discourse. [2] While the term social practice has been used in the social sciences to refer to a fundamental property of human interaction, it has also been used to describe community-based arts practices such as relational aesthetics, [3] [4 ...
Energy pervades the work of art, and the more that energy is clarified, intensified, and concentrated, the more compelling the work of art should be. Dewey gives the example of young children intending to act a play. “They gesticulate, tumble and roll, each pretty much on his own account, with little reference to what others are doing.”
Participatory art is an approach to making art which engages public participation in the creative process, letting them become co-authors, editors, and observers of the work. This type of art is incomplete without viewers' physical interaction.
Arts administration (alternatively arts management) is a field in the arts sector that facilitates programming within cultural organizations.Arts administrators are responsible for facilitating the day-to-day operations of the organization as well as the long term goals by and fulfilling its vision, mission and mandate.
Relational art or relational aesthetics is a mode or tendency in fine art practice originally observed and highlighted by French art critic Nicolas Bourriaud.Bourriaud defined the approach as "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space."
In psychology of art, the relationship between art and emotion has newly been the subject of extensive study thanks to the intervention of esteemed art historian Alexander Nemerov. Emotional or aesthetic responses to art have previously been viewed as basic stimulus response, but new theories and research have suggested that these experiences ...
The relationship is seen as a win-win for both the artist and the agent. Many professional buyers will only work with an art agent since they can be expected to already understand the business, pricing, and contract negotiation. Many unrecognized artists, no matter how talented, may find it hard to find an art agent willing to represent them.