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Capitalizing on creativity and comme...

Glanzmann, Cassandra Nicolina.

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Capitalizing on creativity and commercialization: Art and music collaboration and crossover.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Capitalizing on creativity and commercialization: Art and music collaboration and crossover./
作者:	Glanzmann, Cassandra Nicolina.
面頁冊數:	63 p.
附註:	Source: Masters Abstracts International, Volume: 55-01.
Contained By:	Masters Abstracts International55-01(E).
標題:	Cultural anthropology. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1598565
ISBN:	9781339035758

Capitalizing on creativity and commercialization: Art and music collaboration and crossover.
Glanzmann, Cassandra Nicolina.

Capitalizing on creativity and commercialization: Art and music collaboration and crossover. - 63 p.

Source: Masters Abstracts International, Volume: 55-01.

Thesis (M.A.)--Sotheby's Institute of Art - New York, 2015.

From Jay-Z to Lady Gaga, high-profile musicians are crossing-over into the world of art and collaborating with artists such as Marina Abramovic and Jeff Koons in an attempt to capitalize upon art's rising profile. While music and art collaborations and crossovers have been a part of the creative economy since the twentieth century, today they serve as a potent symbol of the artworld's changing dynamics. Rather than a means of challenging the status quo or producing work of quality, art has been co-opted as a means of self-glorification and publicity. This trend is emblematic of a greater shift towards a more fame, brand and money-centric artworld. It speaks to the demise of the mythologized starving artist, the collapse of the distinction between high and low, a diffuse conception of art and the rise of art-as-entertainment.

ISBN: 9781339035758Subjects--Topical Terms:

2122764
Cultural anthropology.

Capitalizing on creativity and commercialization: Art and music collaboration and crossover.
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502 $a Thesis (M.A.)--Sotheby's Institute of Art - New York, 2015.
520 $a From Jay-Z to Lady Gaga, high-profile musicians are crossing-over into the world of art and collaborating with artists such as Marina Abramovic and Jeff Koons in an attempt to capitalize upon art's rising profile. While music and art collaborations and crossovers have been a part of the creative economy since the twentieth century, today they serve as a potent symbol of the artworld's changing dynamics. Rather than a means of challenging the status quo or producing work of quality, art has been co-opted as a means of self-glorification and publicity. This trend is emblematic of a greater shift towards a more fame, brand and money-centric artworld. It speaks to the demise of the mythologized starving artist, the collapse of the distinction between high and low, a diffuse conception of art and the rise of art-as-entertainment.
520 $a This thesis examines this shift by looking at how and why collaboration and crossover between music and art initially developed, and its current role as a branding and differentiation strategy. It investigates why and how musicians and artists have engaged in this strategy, whether or not artists are effectively selling-out, and what the wider implications are for the future of art and the art industry on the whole.
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