The art of monetising fear Script Politicians have long mastered the art of monetising fear, transforming societal anxieties into powerful tools for garnering votes, donations, and loyalty. By amplifying threats, whether real or exaggerated, they create a sense of urgency that compels the public to rally behind them, funding campaigns and endorsing policies that promise protection. This strategy not only secures their power but also perpetuates a cycle where fear becomes a lucrative commodity, much like how alarmist narratives drive engagement and profits in broader discourse. So why don't more contemporary artists leverage or expose this political platform, given that power and art have always been symbiotic? Be Creative and Innovative with Knowledge John Bennett - AKA JJFBbennett , is an independent artist. You can view and subscribe to my work via Blogger , YouTube , Flicker , Facebook , Instagram and Deviant Art . Subscribe to JJFBbennett's private...
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Consider THIS Gatekeeper
Gatekeepers in the art world determine what art is exhibited and made available to the public.
Gatekeepers include curators, gallerists, collectors, critics, and other art industry professionals.
Museums, galleries, and cultural institutions are often considered the primary Gatekeepers.
Curators play an influential role in selecting and organizing exhibitions.
As an independent artist, it is essential to recognize and consider the influence of these Gatekeepers.
Botticelli Gatekeepers
The Medici family played a significant role in shaping the art and culture of the Renaissance period and were critical patrons of the Arts in Florence.
Botticelli and other Renaissance artists navigated the values and expectations of their patrons to maintain financial support and avoid falling out of favour.
Botticelli's famous paintings, The Birth of Venus and Primavera, were sponsored by the Medici family and demonstrate their classical influence.
The church also significantly influenced Renaissance art and commissioned many works for religious buildings.
Botticelli's personal experience of false accusations and imprisonment inspired his painting, The Calumny of Apelles, which warns against false and malicious allegations and reminds us of the importance of safeguarding fairness and creativity.
Powerful and Influential Gatekeepers
In ancient Greece and Rome, wealthy individuals and institutions commissioned large-scale artworks for public and religious spaces, reflecting the ruling class's tastes, values, and interests.
Colonizing states utilized art for propaganda, promoting their culture and customs as superior to the local ones.
Classical art focuses on technical excellence, representations of gods and goddesses, historical and mythological narratives, the depiction of military achievements, and attention to detail and realism.
Patrons and institutions with considerable resources and power can influence cultural narratives and advance their interests, values, and agendas through commissioning or purchasing works of art.
The decisions of gatekeepers, such as wealthy patrons and powerful institutions, significantly impact artwork creation. Is it a formalized process for independent artists to seek commissions in patronage?
How the Powerful Influence Artists
Wealthy and powerful business and political leaders have influenced the art world by commissioning classical works of art that reflected their ideals of wealth, good taste, and cultural heritage.
During the 16th and 17th centuries, wealthy patrons favoured classical themes and techniques demonstrating their moral purpose, wealth, power, and cultural sophistication through their art acquisitions.
In the 18th to 19th century, wealthy patrons favoured Rococo and neoclassical styles, which reflected their belief in the classical tradition and conveyed a message of stability, order, and permanence.
The rise of industrialization and globalization in the 19th century allowed artists to become more independent, sell their works directly to private collectors and institutions, and explore new styles and techniques.
In the 20th century, a new class of merchants, industrialists, and bankers emerged who acquired innovative art to reflect their creativity, innovation, and impact on society, shaping the artistic direction and promoting artistic freedom and creativity through their support of innovative artists.
This artwork is protected by U.S. and International copyright laws. Distribution and/or modification of the artwork without written permission of the sponsor is prohibited.
Puppet Master The narrow, high-walled passage swallowed the sound of my boot scraping a broken cobblestone, the echo sharp in the dry air. Above, a sliver of unforgiving sunlight cut down, carving deep shadows where the damp, mossy scent of the gully was now replaced by the smell of dust and ancient stone. I paused, looking not just at my gloved hand—the leather scuffed from my descent, but at what was attached to it. Thin, nearly invisible lines, like high-tensile wires , stretched from the articulated cuff on my wrist and disappeared into the air above the path. I tracked them with my eyes until they converged on a small, stone figure standing motionless in the centre of the walkway. It was a crude marionette , barely a foot tall, carved from the same pale, cracked stone as the surrounding walls. Dressed in a simple tunic, its blank, oval face held a radiating sense of expectant waiting. Its arms were held out, palms up. I held the strings. Yet, the feeling was not one of cont...
Scene 1 It smells like… time down here. Not just damp earth or rot, but something older. A primal scent that’s been waiting in the dark for a millennium. I’m recording this at the bottom of the scar somewhere in the anomaly. In my mind, it's called the Necropolis Gully . My helmet is trying to map it—casting these sterile, digital grids over the moss and the stone—but the data doesn’t make sense. It’s glitching. It’s shuddering against the reality of this place. I don't know why I'm here, looking at ruins. Just... debris. But in the ruins, I found the ghosts of a future that never happened. I was walking over shards of polymerised memories . This was once a city. It was meant to be the heart of a new world that... simply stopped. It wasn't an engineering failure. It was a failure of existence. Holding that slate, I felt this... weight. The grief of the architect. The "wounds of unbuilt dreams." I realised then that this isn't a graveyard for people. It’...
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