THE ART WORLD MOST POWERFUL 50 PEOPLE
When you think of 20th Century Art , who first comes to your mind? Picasso, might be the first who comes to your mind? Well, what if i were to list a few names of the greatest figures of 20th-century art, such as: Bonnard, Brancusi, Braque, Dubuffet, Giacometti, Gris, Leger, Matisse and Picasso.Who would you remember first/most? What if i were to further drag your memory for a walk and asked you about a few more instances,like, when restorers attempted to clean, 'THE MONA LISA' and it was 'FEARED' that, if it gets 'DAMAGED',it would be a NATIONAL DISGRACE...;You remember that intent? Or,in (MADRID) in 1997 when Bilbao was to Bid for (Guernica) and it was said that ,'The Guggenheim Museum Bilbao has touched a political and cultural nerve in Spain by announcing that it wants to borrow Pablo Picasso's Guernica from the Reina Sofia Museum in Madrid to celebrate its opening'.Did you know it was originally titled 'The Horrors of War (after Goya's famous work)?
Lets touch your nerves,who are they? AS EXPECTED,THE BIENNIAL ASSESSMENT OF POWER IN THE ART WORLD RAISED A BUMPER CROP OF HACKLES: (quote)"Could i suggest that a much more interesting survey would be of "the 50 most knowledgeable people in the art world?" queried venerable British dealer Leslie Waddington. "I wonder how many of those who are listed as 'powerful' would get into that second category."(end quote); (quote), "All 50 of the most powerful people in the art world should be artists, " Opined David Ross,director of the Whitney Museum of American Art. "And quite frankly I'd be very happy with that state of affaire." (end quote);
"This tends to be about money," objected Robert Storr,curator of the department of painting and sculpture at New York's Museum of Modern Art. "The power of ideas is equally the power of economics." "I'll tell you who's powerful," declared New York dealer Andre Emmerich. "The different curators and directors who arrange the exhibitions. The museums have a lot to do with validating the latest fashion." All of these people,in their own way have a point.Which is why putting together a survey like this every two years or so can be both a challege an ordeal-but never a bore.Some in the art world were delighted to be on the list and to talk to us freely about new candidates,said (Ann Landi); While others were reluctant and didn't return calls including artists,who never cared about being in a 'who's who,' "some told ARTnews."But when spy magazine started doing a 'who's no longer whom' a few years back, those who didn't returned calls dreaded being listed."
In most fields and endeavors,it's fairly easy to say who has the power.Forbes lists the richest; technology magazines look for the most innovative;But the relatively small and ever-fluctuating network that invests its life-blood in art operates on other criteria and those can change from generation to generation.Thirty years ago,for example,a handful of art critics wielded enormous influence;Today that's just a curious blip in the continuum. ANN LANDI said, (quote) The job would certainly be a lot simpler if we confined the list to artists but who would ever see their work if it were not for the dealers?
And how would a larger public come to take note if museum curators weren't scouring galleries and studios?If collectors didn't do their passionate best to assemble outstanding works through time, today, the economic bottom would fall out. And though most critics no longer have the power to make or break reputation,the press and among the art-loving public are indebted to them for their legs and eyes. So these are the factors that were taking into account in naming "the 50 most powerful": money and taste;creativity and innovation;market muscle and brain power; the recognition of the new and the integrity of commitment. And sometimes-even if we like to think that esthetics transcends timeliness-it all boils down to the obstinate newshound's favorite question: (Who's hot and who's not?
"THE 50" * WILLIAM AQUAVELLA (Dealer,(New York) One of the few who favored to conduct auctions at Sotheby's "conducted some major private deals with museums and collectors throughout the world."His show of Lucian Freud's latest work was widely praised; *JEAN-CHRISTOPHE AMMANN Director, Museum of Modern Art,Frankfurt "I find it amazing how many extraordinary artists there are who are known only to a few people,"says the tenacious Ammann ,looking ahead,the director quotes Malraux:"The 21st century will be intellectual,or it will not be at all."*ERNST BEYELER Dealer and collector,Basel plans to open the museum housing his legendary collection of 20th-century art in the Basel suburb of Riehem,he organized a show of 50 paintings and sculptures from private Swiss collections for the Mitsukoshi Museum in Tokyo ,he also loves Barnett Newman and Jackson Pollock,whose paintings he has added to his own holdings.
*ELI BROAD Collector,Los Angeles The chairman and executive officer of SunAmerica Financial services Company oversees not one but three collections.There is the personal one,for which he and his wife Edyth commissioned a 60-ton sculpture from Richard Serra and acquired important works by Calder, Lichtenstein, Rauschenberg and Picasso,among others. Then there is the family foundation,offering a "lending library" to more than 2000 museums and university galleries.The financier is also the founding chairman of the Los Angeles Museum of Contemporary Art. A collector since the 1960s,"He's one of the steadiest buyers and supposters of contemporary art,year in and year out," *DIANA D.BROOKS President and chief executive officer,Sotheby's Holdings, Inc., New York who rose rapidly through the ranks of the 250-year old auction house, Brooks has been charged with guiding Sotheby's into the 21st century .Splitting of the Pierre Matisse Gallery with William Acquavella.Sotheby's profile should be higher still in the contemporary market,though some people are alarmed at the blurring of divisions between the big auction houses and major galleries."Brooks pulled off the Onassis auction,which she calls one of the highpoint of Sotheby's history."
*FRANCOISE CACHIN Director of French National Museum ,Paris. The scholarly granddaughter of Paul Signac has been overseer of some 1,000 art institutetions in France,including the Louvre and Versailles.She has being fighting to increase the acquistions budget for museums and taking steps to return Nasi-confiscated artworks to their rightful owners. * LEO CASTELLI Dealer,New York.He has a starstudded stable that includes Jasper Johns, Roy Lichtenstein, Bruce Nauman and Frank Stella."The great rush to inherit the Castelli mantle is not going to happen,"remarks one curator. "There's no one who will be able to do it." * GERMANO CELANT Curator of Contemporary Art, Soloman R. Guggenheim Museum,New York Widely respected for his extraordinary intellect,the founder of the arte povera movement in Italy and has turned his attentions to examining culture in its broadest sense. He 's brought his wide-ranging curiosity,straddling art both high and low,to exhibitions on the "Italian Metamorphosis," Claes Oldenburg and most extravagantly, to the first fashion and art biennial in Florence. His ultimate goal,as he puts it, is to instigate a kind of "jam session of the art."
*CHUCK CLOSE Artist,New York After Close appeared on ARTNews last list,one of his friends,a painter,approached him and demanded, (quote) "if you're so goddamned powerful,why haven't you done anything for me?" Close was dumbfounded but curator Robert Storr of the Museum of Modern Art claims the painter does more for colleagues than do most artists. "He spends a lot of time actively involved with foundations. "He's done a lot to open it up for younger artists." As for Close's own accomplishments, a full dress retrospective at the Modern in the fall of 1998 will sum up nearly three decades of Close encounters with the human face.* PAULA COOPER Dealer,New York After 28 years in SoHo the soft-spoken dealer,who commands almost universal admiration,she's not afraid to go against the grain,has multiple exhibitions, in-depth historical presentations.
* CHRISTOPHER DAVIDGE Chief Executive Officer,Christie's International London He is the third generation of his family to work at Christie's.His street savvy,innate diplomatic skills and workaholic habits secured his rise to managing director in 1989 and chief executive officer in 1993.(quote) "I very never been attracted to the art side of the business," says the then 50-year-old chairman.end (quote) But his commercial talents have protected the auction house from takeovers, established it as a force in asia and pushed its share of the international fine-art market to 49 percent,taking Christie's head-to-head with rival Sotheby's for the first time. * PHILIPPE DE MONTEBELLO (past) Director,the Metropolitan Museum of Art,New York The uncrowned Prince of Central Park,de Montebello continues to lead his institution towards the millennium.(NB). The current director of the Met/museum is Thomas P. Campbell-as of January 2009.*ANNE D'HARNONCOURT Director and chief executive officer,Philadelphia Museum of Art -the only female director of a United States museum with a budget over $25 million-has proved a formidable presence on the museum circuit,bringing the Brancusi and Cezanne retrospectives,along with hordes of visitors,to the City of Brotherly love. To the chagrin of some,she has demonstrated remarkable business acumen: the Cezanne show was even marketed on QVC,the home shopping Channel.
* ANTHONY D' OFFAY Dealer,London We are now the largest contemporary gallery in Europe,"says d'Offay, who represents both the old guard (Ellsworth Kelly,Jasper Johns,Howard Hodgkin and William de Kooning,among others) and up-and-comers like Ellen Gallagher and Gabriel Orozco.His latest catch was sculpture Rachel Whiteread, whose controversial casting for the Holocaust Memorial in Vienna. Notes one reporter,(quote) "He represents a lot of winners." (end quote). D'Offay himself says (quote) his most significant contribution,apart from the gallery, is organizing exhibitions all over the world. *DONALD FISHER Collector, San Francisco Notoriously press-shy, the founder and chief executive officer of the Gap clothing stores has built one of the outstanding collections of contemporary art. A member of the Dia Art Council,Fisher is also a major benefactor of the new San Francisco Museum of Modern Art.
* RUDI FUCHS Director, Stedelijk Museum,Amsterdam Credited by one critic with "injecting new,unexpected life into the Stedelijk," curated shows on Dutch and Flemish 20th-century art,intalling large public sculptures in Turin. His curatorial skills were highly evident in "Views from Abroad," at the Whitney in New York and the Stedelijk, a show that incorporated works from both collections and was acclaimed for bringing an intuitive and Literary sensibility to the ongoing dialogue between American and European art. * LARRY GAGOSIAN Dealer,New York and Los Angeles Once derided as "nothing but a resale person,"but has broadened his profile and become a permanent fixture on both the east and west coasts.His show of David Hirst's provocations packed the downtown New York gallery. Of his new Richard Meier-designed gallery in Los Angeles, he says, "It's exceeded our hopes both in business and attendance. * ARNE GLIMCHER Dealer, New York and Los Angeles one curator has called Glimcher's gallery,PaceWildenstein," a large Hollywood studio." yes, but what a studio! Leading lights has shown there including Dubuffet and Calder. Glimcher has shown artists not usually associated with southern California, including Cindy Sherman and Diane Arbus. "We 've had a real impact on the community," he notes.
* AGNES GUND President, Museum of Modern Art,New York " She lends credence to the argument that God is a woman," says one observer of the longtime MoMA benefactor. A trustee since 1976, Gund relinquished the chairmanship in June of 1995 but remains active in museum affairs.Founder and president of the Studio in a School Association, which brings artist-taught programs to children in New York's five boroughs. As a collector of art produced from the 1940s to present, Gund has earned high marks. "She doesn't sell, which is important to the artists,who aren't necessarily rich and famous," says ARTnews source. * DAMIEN HIRST Artists,London consider the leader of the young British art "bratpack," the 31-year-old then in 1997 Hirst rose to fame (some would say infamy) with his glass menagerie of bisected beasts. Adead cow and her calf,preserved in glass tanks and shown at the 1993 Venice Biennale, helped win him the turner Prize in and tightly packed crowds at New York's Gagosian Gallery. Whether this is careerist excess or true talent remains to be seen but Hirst doesn't seem to be counting on the art world for longevity. He's also been directing videos for the pop-music group Blur and has opened a new restaurant in London called Marx.The question is,did Picasso, Dali,Von Gogh or Rembrandt had done any thing like him and "WHY"? I didn't read anywhere any of these artists mentioned had ventured off into another venture other than Art...? What do you think,is he a true artist...?
* ROBERT HUGHES Critic,Time, New York One of the foremost cultural commentators of our time,Hughes considers himself "a writer with one leg in history who is also passionately interested,among other things,in the visual arts, not just as an interpretation machine." He launched in 1997 "American art,aired on PBS and 200-000-word text to accompany the series. * JASPER JOHN Artist,New YORK In 1997 was the subjust of a major retrospective at the Museum of Modern Art, Johns has been famous for nearly 40 years, a long-lived acclaim he wears lightly. "I 'm known only to a very small community," he maintained in a rare interview. As reclusive as he is modest,he has produced a groundbreaking body of work that continues to puzzle and delight-and to inspire reams of prose. By one count,more than 4,000 articles and essays have appeared on the artist since his first flags and targets debuted at Castelli. * MICHAEL KIMMELMAN Chief art critic,New York Times, New York In addition to his regular reviewer's beat,Kimmelman has been pursuing a series of interviews with artists. "it's been very well received," he says, "not least because people want to hear artists say more than what the critics say,even if it's the same thing." On the back burner, Kimmelman adds, is a "slowly evolving project about the formation of American museums" but work at the Times keeps the Harvard-trained former music critic so occupied that sometimes, he says,he "finds it hard to breathe."
*KASPAR KONIG Curator, Frankfurt A farmer assistant to Andy Warhol, Konig is now an independent curator and a dean at the Frankfurt Stadelschule, one of the oldest art academies in Germany.Since 1978,his large and influential exhibitions have earned him a global reputation."He's renowned for an immaculate eye and for anticipating who will be the biggest names," says one curator. "He's a master at weeding through the jungle." Konig has written a seminal book on the art of the 1980s and has a personal collection-though he says, "I'm not a collector"-that includes "a few drawings" by Andy Warhol,Caspar David Friedrick to name a few. * RICHARD KOSHALEK Director, Museum of Contemporary Art,Los Angeles The Museum of Contemporary Art has remained committed to expanding its horizons with challenging shows, such as one on Brazilian artist Rosangela Renno and an upcoming installation by Cuban artist Kcho. *THOMAS KRENS Director,Solomon R. Guggenheim Foundation,New York Which played host to such highly praised shows as "Claes Oldenburg," "Abstraction in the twentieth Century" and "Africa: The Art of a Continent."
* RONALD S. LAUDER Chairman, Museum of Modern Art, New York A discrimination collector whose interests range from 20th-century German Expressionist and Austrian art to medieval arms and armor. Since his election to the board of trustees in 1976,Lauder has been a powerful presence at the Modern. A mong his $3.7 million worth of the museum is Richard Serra's Intersection 11. 8 GLENN D.LOWRY Director,Museum of Modern Art,New York In less than two years at the Modern's helm,Lowry has already made an impact,acquiring the neighboring Dorset Hotel and two adjacent brownstones,a move that will nearly double the museum's size. Oversaw a $58 million building project at privious tenure as director of Art Gallery of Ontario in Toronto. The Harvard trained Islamicist has moved easily from the ancient to the contemporary, the miniature to the monumental. In 1997 the Modern added Warhol's vast 32-panel Campbell's Soup Cans and James Rosenquist's 86-foot F-long - to its star studded collection.
* MATTHEW MARKS Dealer, New York The wonderkind galleries, on his own as a dealer works with some of the most acclaimed artists of our times. "He has real artists to who he's seriously committed ," notes one curator. Opened a 9,000-square-foot gallery space on West 24th St -his third venue,in addition to his other Chelsea space,located on 22nd St and his original uptown gallery on Madison Avenue. Marks credit his success to "being focussed from a very young age. As early as college, I knew exactly what i wanted to do." * NEIL MCGREGOR Director,National Gallery,London Considered "one of the most likable men in his position,"he has had high-profile shows, such as the "Degas: Beyond Impressionism" and small scholarly exhibitions like sir ernst Gombrich's examination of the shadow in art. A specialist in German Rennaissance art, has brought the acquisition of important works by Durer. Though he's ushered the museum into the computer age-introducing a computerized database,or microgallery of the gallery's holdings and putting the collection on CD-rom.
* FUMIO NANJO Curator,Tokyo Not surprisingly,"Meet the Network" (http://japan.park.org/Japan/DNP/meet_top.html) brings together artists,architects. Other projects: Curating shows of postwar Italian art and selections from the Stedelijk Museum,planed a "large-scale exhibition" in Arab countries,direct a public-art project in Yokohama,advising artists-in-residence in New York and Italy and cocurating the Brisbane Triennial. Isn't he stretched a little thin? "It is my joy and duty to proceed this way," he says. * RONALD O.PERELMAN President,solomon R. Guggenheim Foundation Board of Trustees, New York Loves to collect companies almost as much as he loves to collect art. Notorious as a corporate raider in the 1980s he parlayed $1.9 million in bank loans into a $5 billion fortune and now owns Revlon,First Nationwide Bank.He won't talk to the press about his art interests but his Hampton mansion is rumored to contain works by Pollock, de Kooning, Lichtenstein and Fernand Leger.
* JULIA PEYTON JONES Director, Serpentine Gallery,London "One of the most powerful women in the London art world," says a British reporter. The Serpentine Gallery,has evolved from a avant-garde outpost in Hyde Park to one of the most stylish venues for new art in London. The Basquiat show opening attracked the kind of crowds usually reserved for pop stars.Young British artists,as well as international comers,find the gallery one of the best launching pads for their careers."Peyton-Jones has succeeded in shocking the bourgeoisie just enough so that it donates generously to the cause," says reliable source. She spearheaded the Serpentine's successful lottery bid for $4.5 million to renovate the premises. SIGMAR POLKE Artist, Germany A late-20th-century romamtic,Polke brings a peculiar lyricism to a postwas German esthetic,creating what one critic has called "telling methaphors for the fragmentation of civilization today." He's been seen around the globe with large exhibitions in Los Angeles, Washington,D.C., London and Minneapolis.On top of these,a major restrospective of his work in Berlin in 1997. He walked off with prize at the last Carnegie International and his "Laterna Magic"paintings demonstrate,the artist seems possessed of inexhaustible pictorial resources.
* EARL A. POWELL Director,National Gallery of Art, Washington,D.C "One of the most incredible and humbling experiences of my career was opening the doors of thousands of people who had waited for hours in the freezing cold to see 'Johannes Vermeer,' "says Powell. "Their desire to experience great art was confirmation that we are doing something right." Looking toward the 21st century, Powell has begun digitizing the images in the permanent collection (which has been enhanced by an additional 2,000 works in the last two years) and opened a microgallery,which he calls "the most comprehensive interactive computer system in an American art museum today." * ROBERT RAUSCHENBERG Artist,New York A sense of experiment and play have been the hallmarks of his work and career,even as he enters his eight decade. By now,the list of his awards fills a single spaced typedwriting page. But the master of many mediums is perhaps proundest of his outreach efforts: the Rauschenberg Overseas Culture Interchange, an eight-year peace-seeking odyssey that sent 200 collaborative works around the globe;and change,Inc., a nonprofit group that provides emergency funds for artists.
*PIERRE ROSENBERG Director, Louvre Museum,Paris With his election to the prestigious Academie Francaise 1996.Rosenberg is officially an Immortal,a status that has not kept him from attending many a more earthbound "vernissage" in his trademark red scarf. This scholar and curator,who joined the Louvre in 1962 and became director in 1994,has initiated new programs to increase alreadly immense crowds and attract younger visitors. He has turned his attentions to overseeing construction of the new Sackler Wing of Oriental Antiquities.* ROBERT ROSENBLUM Professor of fine arts, New York University Curator of 20th-century art, Solomon R. Guggenheim Museum, New York Rosenblum's art-historical interests extend from 1760 to the present and he has written profusely on subjects ranging from Ingres to Gilbert and George.He says the professional challenge has been "balancing my life as a fact-finding academic art historian who lives in the 18th and 19th centuries with a passionate commitment to the art of the immediate present."
* DAVID ROSS Director,Whtney Museum of American Art Ross previously gave as his museum's motto "the capacity to embrace change" and shows that run the gamut from Edward Hopper to Nan Goldin reveal both the institution's uniquely American sensibility and its dedication to the cutting edge.Ross has proved an adroit champion of "bringing the museum beyond its own walls." *
LORD ROTHSCHILD Director,National Heritage Memorial Fund,London With $384 million in lottery money to disburse per annum, he has the deepest pockets in the world to spend on art-for everything from paintings to manuscripts to museum restoration. Born into the famous banking family,he dutifully entered the financial world.But over the past two decades, to present, he's become a serious presence in the art world. A trustee of the National Gallery, juror of the Pritzker Prize for architecture and family representative for all things cultural. * WILLIAM S. RUBIN Director emeritus, department of painting and sculpture, Museum of Modern Art,New York He organized the hugely popular "Picasso and Portraiture" exhibition at the Modern in 1996 and serves as adjunct professor of fine arts at New York University's Institute of Fine Arts. As chief curator of the painting and sculpture collection for two decades,he organized major shows that range from Cubism to Frank Stella,from Cezanne to Picasso and Braque and oversaw the reinstallation of the collection.He has reaped most of the major honors in the field. and was also named Officer of the French Legion of Honor and Commander of the Order of Arts and Letters.
*NICHOLAS SEROTA Director, Tate Gallery, London "He's performed the formidable task of rallying financial support for contemporary art and convincing the powers that-be that Britain needs a major modern-art gallery capable of hosting international shows," says one critic.He overseen every aspect of the new Tate Gallery of Modern Art at Bankside and has also introduced temporary sculpture exhibitions and annual shows of minimalist art. * DAVID SYLVESTER Critic, London Said to have one of the most discerning eyes in 20th-century art and old enough to have known most of its masters, curated the Francis Bacon blockbuster at the Pompidou Center and the Giacometti show at the Royal Academy of arts.He has organized exhibitions of de Kooning,Picasso and Brancusi. Among his many notable publications are About Modern Art and a book on Giacometti, which garnered him the coveted Golden Lion award for best international critic at the Venice Biennale.
*KIRK VARNEDOE Chief curator, department of painting and sculpture,Museum of Modern Art,New York He organized the Jasper Johns retrospective in 1997,which is among a string of shows he organized. A MacArthur Fellow,whose other honors include membership in the American Academy of Arts and Sciences and a Slade professorship at Oxford. Museum expansion of the contemporary galleries and introduction of the well-received "Artist's Choice" exhibitions. Modern Art and popular Culture" and the Cy Twombly retrospective-had critics fuming, fears that a scholar of 19th-century art could not keep up with the present have long been put to rest. *LESLIE WADDINGTON Dealer, London " I do not think that i am any longer one of the 50 most powerful people in the art world," demurs the Ulster-born,Paris educated dealer.But his greatest pleasure,says Waddington,is acquiring an ever-deeper knowledge of such artists as Dubuffet and Picasso. "It is very odd that people today call themselves experts in marketing and promotion but have no sense of what art is about."
* JOHN WALSH Director, J. Paul Getty Museum,Malibu " He's the real art person at the Getty," remarks one critic and indeed Walsh's scholarly accomplishments range from detail ed critical analyses to a book for general audiences on Dutch genre painter Jan Steen.In 1997 he snapped up works by Rembrandt and Cezanne and sketchbooks by Degas and Gericault. *SIR ANDREW LLOYD WEBBER Collector,
London The composer-prodcer's collection of Victorian art packs the strong emotional wallop of the musicals that made him a millionaire-among them,Phantom of the Opera, Miss Saigon and Sunset Boulevard.A fan of this once-scorned period since he bought his first work (a Rossetti drawing) at age 15,he is now the most serious collector of Victorian art in Britain. But there is another side to his esthetic pursuits: the Sir Andrew Lloyd Webber Foundation,founded in 1992 to "purchase outstanding and unique works of art from all periods and to make them accessible to the British public," according to art adviser David Mason of Mason McConnell Gallery in London. So far, the composer has paid top dollar for a Canaletto,a Blue Period Picasso and Sir Edward Burne-Jones's "Holy Grail" tapestries,all on loan to public galleries. "England has been good to Andrew," says Mason. "This foundation is a way of giving back."
*MICHAEL WERNER Dealer, Cologne and New York The German-born Werner proudly points to the accomplishments of the artists he has been representing,some for more than 30 years: Sigmar Polke won the Carnegie International prize; George Baselitz has a retrospective at the Musee d' Art Moderne de la Ville de Paris and Per Kirkeby at the Arken Museum in Denmark; and James Lee Byars contributed a large installation for the opening of the Museum of Contemporary Art in Chicago.Werner says his goal is to establish for his artists "as important a reputation in the U.S. as they have in Europe." *DANIEL WILDENSTEIN Dealer and art historian,New York and Paris The paterfamilias of one of the world's great art dynasties,an adviser to museums and collectors, he remains a major player on the international scene.Even as a fifth generation is being groomed to enter the 120-year-old business, the senior Wildenstein is active as a member of the Institut de France and as the guiding force behind the Gazette des Beaux Arts,the world's oldest art journal.
* HAROLD M. WILLIAMS President and chief executive officer,the J.Paul Getty Trust,Los Angeles He has seen the completion of the immense Getty Center,which unites six divisions and 350 staff members. His stints includes at Hunt Wesson,at the Norton Simon Museum and as chairman of the U.S. Securities and Exchange Commision under President Carter. His last year has been devoted to linking the Getty "more deeply with the city of Los Angeles and the entire Southern California region." NB. Information was extrated from ARTnews ;When next you walk on the streets of Paris,New York, Europe,England,China, etc, ask the question; You might say,a more comprehensive or true survey is from views from different civilizations...? Just pick up the book title: A HISTORY OF ART ,on "a survey of the visual arts from the dawn of history to the present day;"It is said that, the greatest of university is the BAR,or MARKET-PLACE,HAIR DRESSER SHOP & COFFEE SHOP ...?
