Selling Your Art Work: A Marketing Guide for Fine and Commerical Artists by Milton K. Berlye (review)

Books 355 and Agafoshina, U.S.S.R.). The last article is a review of a bibliography on the museum as educator (Luca). The guiding philosophy of most of the authors is that ‘children must first accumulate the experience which gives them a direct contact with reality’ (Szpakowski). The method is in ‘direct involvement, on ‘personal discovery, on creative activity’ (Marcousk) stimulated by asking questions, touching objects and filling out working-sheets (Proctor). It is an ‘open-ended approach to education which is now encouraged in the museum as in the school’ (Marcousk). The change in the role of museums came (Condit) because (1) of the general trend in education to less-structured environments, (2) of facilities provided by advanced technology, (3) of decentralization (adaptation of museums to local needs) and of financial difficulties (common to museums all over the world) that brought the necessity to attract more visitors by making the museums livelier and more responsive than before. This is done by (1) temporary exhibitions (Olofsson), (2) use of mass media in order to attract the visitor and prepare him for his visit (Read, Thomas) and (3) travelling exhibitions in order to reach a public that would otherwise not have a chance to learn either about the subject exhibited or about the museum (Olofsson, Vilenskaya and Agafoshina). The importance of museum teachers and of collaboration between a museum and educational decision-makers is well brought out (Proctor, Szpakowski). The best parts of the book are the analyses of the differences in the role of museums in industrially developed and developing countries (Marcousk). In the latter, the emphasis on ‘museums for the illiterate’ in order to propagate information on hygenics, economics and social structures is very well presented (Hassan, Toucet, Subramanian ). The various articles in the book are not very well linked by the editor, who does not name himself. By no means can I agree with him (or her) that the common denominator of the articles is imagination as the articles are primarily descriptive and only an inquiring approach stimulates imagination. The educational idea in most of the articles is still only a concretization of abstract knowledge ‘the bridge between instruction and enlightenment’ (Luca) in either art or science (Marcousk, Condit, Subramanian). There is no hint (except vaguely in Proctor’s article) that a stimulating exhibition based on a multidisciplinary approach to either art or science could help to develop an inquiring attitude to both art and science. Knowing some of the authors, I must say that their articles do not by any means reflect the real work they do. Although ‘change’ is often mentioned, there is no change in the basic idea of the museum as ‘a scintillating array of the treasures of man’s past’. The authors often go back to the early beginnings of museums (Alexandria) but they get lost on the way, never quite reaching the present, nor confronting the future. There are some good departures but very few arrivals. Ears Two: Summer 73,Light Sound Area. Exeter College of Art and Design, Exeter, England, 1973. 70 pp., illus. Reviewed by Stroud Cornock* For roughly four years the degree course in fine art at Exeter College of Art in Devon, England, has been encouraging students to explore various ways of incorporating light, sound and motion into their work. Art schools in Britain generate a lot of energy but much of the resulting work is destroyed without being seen outside the schools and little is done to prepare young artists for survival in the world outside. The lecturer at Exeter concerned with light-sound media, Mike Bartlett, has taken a hand in two initiatives that are designed to help overcome these problems. The first is the establishment of a fellowship to enable a graduate to pursue a line of work for a further year and the second is an annual publication *17Burton Crescent, Oadley, Leicester LE2 4PA, England. documenting graduate and student work. It originated with a broadsheet, ‘Ears’, in 1972 but ‘Ears Two’ is a substantial aggregation of graphic and written material from six people who have worked with light-sound media. What this unedited document lacks in coherence it gains in directness, giving an...