Author(s): Neda Ä°smail ATAR
All the works of art that we have seen throughout the history, from the very past until now, have also been produced to be exhibited in an open-air area or indoor. The artistic adventure of a said work of art - a painting, a sculpture / statue or even other disciplines of art – comes to an end after it is exhibited on a wall, a defined space / an open air area. However, today, before a work of art finds its final space, the viewer – customer is persuaded by exhibiting that work of art in an interim space, a gallery or in a selected / designated area. This not only shows just ‘give and take’ or trade, and it also convinces the customer that she / he is face to face with a work of art. The market of art, which has become a slave to routine of the capitalist system, bands all the produced art-works together in a space despite any kind of differences of expressions by the artists. It gathers them all in only one room. This case is valid within the types of artistic expressions that create / produce no objects. It is undoubtedly hard to say that the art world has this degree of dominance over each piece of work of art. The ideas which have been mentioned here are for the pieces of art in circulation in the art world. This text scrutinizes the position of the art galleries of today’s art world which we confront as a category that ‘certify / approve of’ or decide on the works of an artist when those works are exhibited in there.
The Journal of International Social Research received 8982 citations as per Google Scholar report
