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ART

ART DEFINITION
1. Family Resemblance View
  1. While there is no one defining trait across all types of art, there are overlapping traits between different types of art
  2. However this does not distinguish art from any other subject matter that may have certain overlapping traits
  3. If a common denominator can be found for other fields (such as games) then surely it can be for art (no matter how insignificant it is
2. Significant Form Theory
  1. Clive Bell: Art pieces contain a 'significant form' that evokes an aesthetic emotion in sensitive critics
  2. However this theory is circular: Significant form is proven by aesthetic emotion, which can only be felt in the presence of significant form
  3. Theory is impossible irrefutable not only because it is self-justified but also because any observation of it will prove it
    1. If aesthetic emotion is not observed then that object is simply not a work of art
    2. Meaningless since it is logically impossible to refute
3. Idealist Theory
  1. Collingwood: Actual art lies in the ideas and emotions of the artist
  2. Genuine art (most superior form) is made with no purpose or design in mind
    1. Contrast this with entertainment or religious art
    2. However he does recognize that there can be overlaps between art and craft
  3. However it can be hard to accept especially in the case of paintings which have become only traces of the real piece of art
  4. Too narrow as many great portraits and plays would no longer be considered as genuine art but as craft instead (since they were made with a purpose in mind)
4. Institutional Theory
  1. George Dickie: Works of art are artifacts that have been worked on by human touch and named a work of art by a member of the art world
  2. However this would not differentiate good/bad art since any member of the art world can 'crown' a particular object as art at their own will
    1. Disregards the value of art (categorization for the sake of it)
  3. Circular since the capacity to call something as art confers someone into the art world, but it is also members of the art world who can grant objects the title of 'art'
    1. However it is not viciously circular since history, culture, etc. has to be taken into account as definers of the 'art world' as well
  4. Richard Wollheim: members of the art world surely follow some sort of criterion when calling something 'art', then this criterion would truly be what defines art
ART CRITICISM
1. Anti-Intentionalism
  1. Intention Fallacy: external items that represent the artist's psychological state when creating the art piece (e.g. memos) taken into consideration (which should not be the case)
  2. Death of the Author: once a piece of literary work is published the author no longer has control over its interpretation (similar concept applies for all works of art)
  3. However intentions may actually be embodied in the art work itself since there is a strong interconnection between intention and action (my intention to turn on a switch can occur at the exact same moment as when my hand moves to turn it on)
    1. Yet anti-intentionalists are not against all intention, but rather things that are external to the actual piece of art
  4. Consider the case of irony where intention/other related sources (while not shown in the actual work of art) is of key importance
  5. May be too restrictive a view for critics to properly and fully assess a work of art
AUTHENTICITY
1. Historical Authenticity in Performance
  1. E.g. Music: To perform historical pieces (e.g. Bach's Concerto) on instruments that would have been used at that time coupled with extensive historical research and technique use
  2. Places a certain superiority/importance on authenticity
  3. However complete historical authenticity can never be achieved since it is not possible to negate the progress in (e..g musical knowledge) that has been made up till current day
    1. Different spacial/temporal context leads to different significance placed on the work of art (e.g. Bach's Concerto)
  4. Limiting in terms of the scope of creativity of the performer (simplistic view of musical/artistic interpretation)
  5. Plain focus on historical authenticity can lead to the actual spirit/artistic sincerity of the piece being ignored
2. Forgery
  1. Perfect copy (e.g. of a painting)
  2. Art done in a similar style (e.g. writing)
  3. Sotheby's Effect: having multiple copies decreases the value of each piece
  4. Snobbery of art collectors value the originals simply for their uniqueness and not for artistic value
  5. The value of relics simply because they have gone through the hands of a famous person
  6. Good forgeries are as artistically significant as the originals?
    1. The Perfect Fake
      1. However there is a chance that there is still a slight difference (except that experts now are unable to notice)
        Yet these differences will rarely be significant enough to reduce the value of the 'perfect fake'
    2. While there may not be a difference in artistic value, forgers have less artistic merit due to the lack of originality
    3. Forgery involves the intention to cheat/deceive (otherwise it would be a copy or a pastiche - experiment to paint in the style of another)
      1. However similarly does not discount its brilliance as a work of art
BEAUTY
1. Darwinian Theory of Beauty: Beauty is not in the culturally conditioned eye of the beholder, but rather it is something innate to all humans due to evolutionary selection

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	Created by Jaslyn Koh almost 9 years ago