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Showing posts with the label High Art

Feature Post.

The Slave Market and the Theatre of European Anxiety

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Author Brian Hawkeswood.                                                                                                   Nach unten scrollen für die deutsche Übersetzung https://artelbestudio.blogspot.com/2025/04/orientalist-beautiful-form-of-realism.html When Jean-Léon Gérôme exhibited The Slave Market in 1871, Europe was not an innocent observer of slavery. The Atlantic system had only recently been dismantled in parts of the Western world; Brazil would abolish slavery in 1888. European empires were expanding across Africa and the Middle East. Racial hierarchies were being codified in pseudo-scientific language. Anthropology, colonial administration, and academic painting shared an overlapping visual culture.         ...

"High Art”: What It Meant, and Still Means.

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Author - Justin Evermore .                                                                 Nach unten scrollen für die deutsche Übersetzung .   That’s a fascinating comment, and it likely carries more meaning than it might initially seem—especially coming from a Russian visitor. “ High Art ”: What It Meant, and Still Means The term High Art historically refers to artworks considered part of the “canon”—works that are refined, intellectually and aesthetically sophisticated, and aligned with a long tradition of cultural seriousness. Think of Renaissance painting , classical music , great literature —art with weight, legacy, and depth. In the 1980s, especially in Western circles, the term began to fade out or get ironized. Postmodernism blurred the boundaries between “high” and “low” art: pop culture , kitsch , graffiti , and ...

What Is High Art? A Russian Visitor, a Glimpse, and a Question

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  Author - Brian Hawkeswood . What Is High Art ? A Russian Visitor, a Glimpse, and a Question.                                    Nach unten scrollen für die deutsche Übersetzung. A Russian lady walked into my gallery yesterday. We exchanged a few words—those customary, hovering preliminaries between silence and conversation—and then she stood for some time in front of a particular work. She looked, really looked, then turned to me and said with gentle certainty: “This is High Art.” I hadn’t heard that phrase in decades. Not since the 1980s, when I was young and that term still lingered on the lips of teachers, critics, and perhaps a few ambitious students before it vanished into the fog of irony and postmodern doubt . The art world moved on—or so it seemed. High Art became suspect, or even laughable. Too hierarchical. Too earnest. Too bound up in dusty museums and old European illusions. And ...