Through the eyes of a Utopian individual: Does fantasy art allow people to find their own Utopia

BY

Table of Contents

CHAPTER 1: LITERATURE REVIEW3

Introduction3

Discussion3

CHAPTER 2: METHODOLOGY8

Research Design8

Literature Search9

Keywords10

Theoretical Framework10

Objective10

Data Collection11

Ethical Concerns11

Limitations & Delimitations of the study12

Reliability13

WORKS CITED14

CHAPTER 1: LITERATURE REVIEW

Introduction

Understanding modern fantasy art includes more than admiring cases for movies, guides, publications, and video games of the fantasy category. Fantasy art concerns legendary, wonderful, and paranormal styles. The record of fantasy art can be tracked back to antiquity when workers handled legendary numbers in their encounters, poetry, and pictures. By the German Rebirth, workers concerned with Ancient and Roman legendary numbers were actually creating fantasy art. As a category, fantasy art does not receive official identification and authenticity like other art motions.

In the Contemporary, in part due to the international popularity of fantasy stories, cartoons, and other fantasy media, fantasy art can claim a wide attraction as a way of creative concept. This category, however, is often omitted from the present art record guides and hardly ever shown in great art exhibits. It is not typically analyzed in the present art educational institutions (Baudrillard, 2005).

Fantasy art is constantly on the catch today's creativity. In the future, perhaps amazing art will be identified as a way of great art by the art organization.

Discussion

The 21st century art world is in a fractured state due to the progression of globalization and the lack of community that was once prevalent in many of the politically driven movements associated with modernism of the 20th century. Money has always been the driving force behind the production and distribution of art, as is still the case, but in today's world a sense of elitism coupled with increased cost to view and participate in art has made it difficult for those without the income to travel to art fairs, biennales, and attend museum exhibitions. Because of this, many artists feel a lack of community and a sense of separation between themselves and the art world, in addition to the fact that in more recent years due to the spread of globalization, there is no concise art center, as was Paris prior to WWII and New York thereafter. Increased costs, no real sense of artistic community, rapid globalization, and the ideals of appropriation have made it hard for artists to come up with new, innovative artistic practices in the wake of Roland Barthes (1915-1980) 1967 essay, Death of the Author., from the book Image-Music-Text, which explores the principle that everything has been done by prior Authors and must be appropriated into new ideas (Benjamin, 2008). This ideal applies directly to the history of art and contemporary artists, which are pegged as simply reworking previous ideas into a new context. Barthes believed that in removing the Author, the work has no prior contextualization; it is open-ended and can have endless reinterpretation. ?Once the Author is removed, the claim to decipher a text becomes quite futile. To give a text an Author is to impose a limit on the text, to furnish it ...