The phrase "artistic consequence" is correct and usable in written English.
It can be used to refer to the outcomes or effects that arise from artistic actions or decisions, often in the context of creative work or expression.
Example: "The artistic consequence of her bold color choices was a vibrant and captivating painting that drew the attention of many viewers."
Alternatives: "creative outcome" or "artistic result".
Very few of the items here are of vital artistic consequence; it is how they are done that is significant.
Eric is a keen apostle of the islands, well aware of the irony that in his youth he was desperate to escape to art school in London, convinced that nothing of any artistic consequence ever happened on Guernsey, or the other seven inhabited islands in the archipelago.
Following in 1998, M. H. Abrams explained, To Autumn' was the last work of artistic consequence that Keats completed he achieved this celebratory poem, with its calm acquiescence to time, transience and mortality, at a time when he was possessed by a premonition that he had himself less than two years to live".
The artistic consequences of Diaghilev's Ballets Russes were enormous.
It is also never made clear quite why the whole Motown industry shifted its base from Detroit to Los Angeles and what the artistic consequences were.
This position has more than intellectual or artistic consequences; it also becomes something of an obstacle in her relationship with Paul.
How are the artistic consequences of this war, which provoked the Dada movement to reject art itself in rage at "civilised" Europe's massacre of its young men, to be remembered?
These decisions have commercial as well as artistic consequences, since some of the biggest theater chains, retail stores and video outlets avoid the NC-17 rating as a matter of policy.
One can sympathize with Pryor's relief at waking up in the morning without having to wonder if the police were coming, but one can also understand Saul's reluctance to take us through the artistic consequences of Pryor's new respectability.
Dispensing in the Introduction with the possibility of art holding itself aloof from wartime society, Fox sets the scene in chapters 1 and 2 for his central argument, that the war's artistic consequences were enduringly productive.
Before embarking on the project, Mr. Barker had established himself as a filmmaker of artistic and political consequence with documentaries like "Ghosts of Rwanda," a retrospective on the genocide there, and "Sergio," which explored the assassination of the United Nations's ambassador to Iraq in a truck bombing that killed 22 people.
