Money in future
These new forms of contemporary art incorporate the shared ideas which can easily be adopted in art. Colour has continued to have a larger appeal to the viewers. Some of these forms of art are accorded high value due their ability to represent art in its complex form but in the simplest way. This form of art has gained popularity as advancement in art. This is so as it has fascinated art lovers by its capacity to represent usual things in the environment in a more beautiful and representative form (Winkler, 2009).
These two forms of art although not from an original set of mind has gone ahead to offer these artists a big fortune and recognition on the world of art. In the field of organisation of art, a growing concern over the new trend in art market has been noted over the shift of artists and organisers to monetary gain. Artists and art organisers have become more and more money minded than ever before. This is seen in especially in organising of exhibitions (Jayme, 2005).
Most of the works being exhibited is now being produced in masses to cash in the demand of such works. Creativity has been lost in
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The current trend in global art market has elicited concerns from the exporting countries. The big money offered at collection galleries is having a lot of negative effects on the local cultures. This is because, most of their valued cultural artefacts are being exported from their museums thus denying their future generation a chance of enjoying their art. In the recent past, China has protested over auctioning of Chinese fountainheads artefacts which were made from bronze and stolen from China by Britons long time ago (Stoller, 2003).
The act of amassing large quantities of valuable art in possession of one person defeats the essence of art. The most ethical aspect of valuable art is for it to be preserved Art is there to be seen Despite of all these, most of high profile international galleries have continued to open exhibition at points all over the major cities of the world making the art to be known by many people. The exposure of local artists to the international art exhibitions has opened new markets for their artworks.
Reference Jayme, E. (2005). Globalization in Art Law: Clash of Interests and International Tendencies. Vanderbilt Journal of Transnational Law, Vol. 38, pp. 1-23 Stoller, P. (2003). Circuits of African Art/Paths of Wood: Exploring an Anthropological Trail. Anthropological Quarterly, Vol. 76, pp. 30-45 Winkler, D. (2009). Visual Culture and Visual Communications in the Context of Globalization. Visible Language, Vol. 43, pp. 89-103