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| razischool.com | Etymology | Characteristics of art | Judgments of value | Differences in defining art | Art Related issues | History of art | Earliest known art |
Differences in defining art
Definitions of art and aesthetic arguments usually proceed from one
of several possible perspectives. Art may be defined by the
intention of the artist, as in the writings of Dewey. Art may be
seen as being in the response/emotion of the viewer, as Tolstoy
claims. In Danto's view, it can be defined as a character of the
item itself or as a function of an object's context.PlatoFor Plato, art is a pursuit whose adherents are not to be trusted; given that their productions imitate the sensory world (itself an imitation of the divine world of forms) art necessarily is an imitation of an imitation, and thus is hopelessly far from the source of the truth. Plato, it may be noted, barred artists from access to his ideal city, in his Republic. |
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AristotleAristotle saw art in less of a bad light; though he shared Plato's poor opinion of it, he nevertheless thought that art might serve the purpose of emotional catharsis. That is, by witnessing the sufferings and celebrations of actors onstage onlookers might vicariously experience these same feelings themselves, and thereby purge such negative feelings.Institutional definitionMany people's opinions of what art is would fall inside a relatively small range of accepted standards, or "institutional definition of art" (George Dickie 1974). This derives from education and other social factors. Most people did not consider the depiction of a Brillo Box or a store-bought urinal to be art until Andy Warhol and Marcel Duchamp (respectively) placed them in the context of art (i.e., the art gallery), which then provided the association of these objects with the values that define art (Although, strictly speaking, Warhol's artwork was not an actual Brillo box but an exact replica of one - so it met the traditional criterion of skill at the very least).Most viewers of these objects initially rejected such associations, because the objects did not, themselves, meet the accepted criteria. The objects needed to be absorbed into the general consensus of what art is before they achieved the near-universal acceptance as art in the contemporary era. Once accepted and viewed with a fresh eye, the smooth, white surfaces of Duchamp's urinal are strikingly similar to classical marble sculptural forms, whether the artist intended it or not. This type of recontextualizing provides the same spark of connection expected from any traditionally created art. It should be noted, however, that Duchamp's act might be as readily interpreted as a demonstration of the (not always beneficial) power of artistic institutions, rather than the universal art potentially inherent in all objects. |
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