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Question of the Month

What is Art? and/or What is Beauty?

The following answers to this artful question each win a random book.

Art is something we practise, a verb. Fine art is an expression of our thoughts, emotions, intuitions, and desires, but it is even more personal than that: information technology'due south nigh sharing the mode we feel the world, which for many is an extension of personality. It is the communication of intimate concepts that cannot be faithfully portrayed by words alone. And because words alone are not plenty, we must find some other vehicle to carry our intent. But the content that nosotros instill on or in our chosen media is not in itself the art. Art is to be found in how the media is used, the way in which the content is expressed.

What then is beauty? Dazzler is much more than cosmetic: it is not about prettiness. In that location are plenty of pretty pictures bachelor at the neighborhood home furnishing store; just these we might not refer to as beautiful; and it is non difficult to find works of artistic expression that nosotros might concur are cute that are non necessarily pretty. Beauty is rather a measure out of affect, a measure of emotion. In the context of art, beauty is the gauge of successful communication betwixt participants – the conveyance of a concept between the artist and the perceiver. Beautiful art is successful in portraying the creative person'southward near profound intended emotions, the desired concepts, whether they be pretty and bright, or nighttime and sinister. But neither the creative person nor the observer can be sure of successful communication in the end. So beauty in art is eternally subjective.

Wm. Joseph Nieters, Lake Ozark, Missouri

Works of art may elicit a sense of wonder or cynicism, promise or despair, adoration or spite; the work of art may be direct or circuitous, subtle or explicit, intelligible or obscure; and the subjects and approaches to the creation of art are divisional just by the imagination of the creative person. Consequently, I believe that defining art based upon its content is a doomed enterprise.

Now a theme in aesthetics, the written report of art, is the claim that there is a disengagement or altitude between works of art and the flow of everyday life. Thus, works of fine art rise similar islands from a current of more pragmatic concerns. When you footstep out of a river and onto an island, you've reached your destination. Similarly, the aesthetic mental attitude requires you to treat artistic experience as an end-in-itself: fine art asks u.s.a. to go far empty of preconceptions and attend to the mode in which we experience the work of art. And although a person can accept an 'artful feel' of a natural scene, flavor or texture, fine art is dissimilar in that it is produced. Therefore, art is the intentional advice of an experience as an end-in-itself. The content of that experience in its cultural context may determine whether the artwork is pop or ridiculed, significant or little, merely it is art either mode.

One of the initial reactions to this approach may be that information technology seems overly broad. An older brother who sneaks up behind his younger sibling and shouts "Booo!" can be said to be creating fine art. But isn't the divergence between this and a Freddy Krueger movie just one of degree? On the other mitt, my definition would exclude graphics used in advertising or political propaganda, as they are created equally a means to an stop and not for their own sakes. Furthermore, 'communication' is not the all-time discussion for what I have in mind considering it implies an unwarranted intention nearly the content represented. Aesthetic responses are oftentimes underdetermined by the artist'south intentions.

Mike Mallory, Everett, WA

The fundamental difference between art and dazzler is that art is about who has produced information technology, whereas dazzler depends on who's looking.

Of class there are standards of beauty – that which is seen equally 'traditionally' beautiful. The game changers – the square pegs, so to speak – are those who saw traditional standards of beauty and decided specifically to go against them, perchance merely to bear witness a betoken. Accept Picasso, Munch, Schoenberg, to name just three. They have fabricated a stand against these norms in their fine art. Otherwise their art is like all other art: its only function is to be experienced, appraised, and understood (or not).

Art is a means to state an opinion or a feeling, or else to create a dissimilar view of the globe, whether information technology exist inspired by the work of other people or something invented that's entirely new. Beauty is whatever aspect of that or annihilation else that makes an private feel positive or grateful. Beauty alone is not fine art, simply art can be made of, about or for cute things. Beauty can exist constitute in a snowy mountain scene: art is the photograph of it shown to family, the oil interpretation of it hung in a gallery, or the music score recreating the scene in crotchets and quavers.

Nevertheless, fine art is not necessarily positive: it tin be deliberately hurtful or displeasing: it can make you remember about or consider things that you would rather not. But if information technology evokes an emotion in yous, then information technology is art.

Chiara Leonardi, Reading, Berks

Art is a way of grasping the world. Not merely the physical earth, which is what science attempts to practice; only the whole world, and specifically, the homo world, the world of society and spiritual feel.

Art emerged around 50,000 years ago, long before cities and civilisation, yet in forms to which we can even so directly relate. The wall paintings in the Lascaux caves, which so startled Picasso, have been carbon-dated at effectually 17,000 years sometime. Now, following the invention of photography and the devastating assail fabricated by Duchamp on the self-appointed Art Institution [see Brief Lives this issue], art cannot be simply defined on the footing of concrete tests like 'fidelity of representation' or vague abstract concepts like 'beauty'. Then how can nosotros ascertain art in terms applying to both cave-dwellers and modern city sophisticates? To do this nosotros need to inquire: What does fine art exercise? And the answer is surely that it provokes an emotional, rather than a just cognitive response. 1 style of approaching the problem of defining art, so, could be to say: Art consists of shareable ideas that have a shareable emotional impact. Art need non produce beautiful objects or events, since a smashing piece of art could validly arouse emotions other than those aroused by beauty, such as terror, anxiety, or laughter. Yet to derive an adequate philosophical theory of art from this agreement means tackling the concept of 'emotion' caput on, and philosophers have been notoriously reluctant to do this. Merely not all of them: Robert Solomon's book The Passions (1993) has made an excellent start, and this seems to me to be the manner to go.

Information technology won't exist easy. Poor one-time Richard Rorty was jumped on from a very great height when all he said was that literature, poetry, patriotism, love and stuff like that were philosophically of import. Art is vitally important to maintaining broad standards in civilization. Its pedigree long predates philosophy, which is only iii,000 years quondam, and science, which is a mere 500 years old. Art deserves much more attention from philosophers.

Alistair MacFarlane, Gwynedd

Some years ago I went looking for art. To begin my journey I went to an art gallery. At that phase art to me was whatever I found in an art gallery. I found paintings, more often than not, and because they were in the gallery I recognised them as fine art. A particular Rothko painting was 1 colour and large. I observed a further piece that did not have an obvious label. Information technology was likewise of ane color – white – and gigantically large, occupying i complete wall of the very loftier and spacious room and standing on modest roller wheels. On closer inspection I saw that it was a moveable wall, not a piece of art. Why could one piece of work be considered 'art' and the other not?

The answer to the question could, mayhap, exist found in the criteria of Berys Gaut to decide if some artefact is, indeed, art – that fine art pieces role only as pieces of art, but every bit their creators intended.

Just were they cute? Did they evoke an emotional response in me? Beauty is frequently associated with art. There is sometimes an expectation of encountering a 'beautiful' object when going to run into a work of art, be it painting, sculpture, book or functioning. Of course, that expectation rapidly changes as one widens the range of installations encountered. The classic example is Duchamp'south Fountain (1917), a rather un-beautiful urinal.

Tin can nosotros define beauty? Let me try by suggesting that beauty is the capacity of an artefact to evoke a pleasurable emotional response. This might be categorised as the 'like' response.

I definitely did not like Fountain at the initial level of appreciation. There was skill, of form, in its structure. But what was the skill in its presentation as fine art?

Then I began to reach a definition of art. A work of fine art is that which asks a question which a non-art object such equally a wall does not: What am I? What am I communicating? The responses, both of the creator artist and of the recipient audience, vary, only they invariably involve a sentence, a response to the invitation to answer. The respond, too, goes towards deciphering that deeper question – the 'Who am I?' which goes towards defining humanity.

Neil Hallinan, Maynooth, Co. Kildare

'Art' is where we make meaning beyond linguistic communication. Art consists in the making of meaning through intelligent agency, eliciting an aesthetic response. Information technology's a ways of communication where language is non sufficient to explicate or draw its content. Art can render visible and known what was previously unspoken. Considering what fine art expresses and evokes is in part ineffable, we notice information technology difficult to define and delineate it. It is known through the experience of the audition likewise equally the intention and expression of the artist. The meaning is made by all the participants, and so tin never be fully known. Information technology is multifarious and on-going. Even a disagreement is a tension which is itself an expression of something.

Art drives the development of a civilisation, both supporting the establishment and also preventing subversive letters from existence silenced – art leads, mirrors and reveals change in politics and morality. Art plays a central part in the creation of culture, and is an outpouring of thought and ideas from it, and so it cannot be fully understood in isolation from its context. Paradoxically, however, art tin can communicate across language and time, appealing to our mutual humanity and linking disparate communities. Perhaps if wider audiences engaged with a greater diversity of the world'south creative traditions information technology could engender increased tolerance and mutual respect.

Some other inescapable facet of art is that information technology is a commodity. This fact feeds the artistic procedure, whether motivating the creative person to course an particular of monetary value, or to avoid creating one, or to artistically commodify the aesthetic experience. The commodification of fine art also affects who is considered qualified to create fine art, comment on it, and fifty-fifty define information technology, equally those who do good nigh strive to keep the value of 'art objects' loftier. These influences must feed into a civilisation's understanding of what art is at any time, making thoughts about fine art culturally dependent. However, this commodification and the consequent closely-guarded part of the fine art critic also gives rise to a counter culture within art civilization, frequently expressed through the creation of fine art that cannot be sold. The stratification of art by value and the resultant tension also adds to its significant, and the meaning of art to society.

Catherine Bosley, Monk Soham, Suffolk

First of all we must recognize the obvious. 'Art' is a give-and-take, and words and concepts are organic and change their meaning through fourth dimension. So in the olden days, art meant craft. It was something you could excel at through do and hard work. You learnt how to paint or sculpt, and you learnt the special symbolism of your era. Through Romanticism and the birth of individualism, art came to mean originality. To do something new and never-heard-of divers the artist. His or her personality became essentially as important as the artwork itself. During the era of Modernism, the search for originality led artists to reevaluate art. What could fine art do? What could it stand for? Could you lot pigment movement (Cubism, Futurism)? Could you paint the not-material (Abstruse Expressionism)? Fundamentally: could annihilation be regarded as art? A fashion of trying to solve this problem was to await across the work itself, and focus on the art earth: fine art was that which the institution of art – artists, critics, art historians, etc – was prepared to regard every bit art, and which was made public through the institution, e.g. galleries. That's Institutionalism – made famous through Marcel Duchamp'south ready-mades.

Institutionalism has been the prevailing notion through the after part of the twentieth century, at least in academia, and I would say it withal holds a firm grip on our conceptions. One example is the Swedish artist Anna Odell. Her motion-picture show sequence Unknown woman 2009-349701, for which she faked psychosis to be admitted to a psychiatric infirmary, was widely debated, and by many was not regarded as art. But considering it was debated by the art world, it succeeded in breaking into the fine art world, and is today regarded equally art, and Odell is regarded an artist.

Of course there are those who effort and intermission out of this hegemony, for example by refusing to play by the art world's unwritten rules. Andy Warhol with his Factory was ane, fifty-fifty though he is today totally embraced by the fine art world. Some other instance is Damien Hirst, who, much like Warhol, pays people to create the physical manifestations of his ideas. He doesn't utilize galleries and other art world-approved arenas to advertise, and instead sells his objects straight to private individuals. This liberal approach to capitalism is one way of attacking the hegemony of the fine art earth.

What does all this teach us nigh art? Probably that art is a fleeting and chimeric concept. We volition always accept fine art, but for the most office we will just really learn in retrospect what the fine art of our era was.

Tommy Törnsten, Linköping, Sweden

Art periods such as Classical, Byzantine, neo-Classical, Romantic, Modern and post-Modernistic reflect the changing nature of fine art in social and cultural contexts; and shifting values are evident in varying content, forms and styles. These changes are encompassed, more or less in sequence, by Imitationalist, Emotionalist, Expressivist, Formalist and Institutionalist theories of art. In The Transfiguration of the Commonplace (1981), Arthur Danto claims a distinctiveness for fine art that inextricably links its instances with acts of observation, without which all that could exist are 'material counterparts' or 'mere real things' rather than artworks. Notwithstanding the competing theories, works of art can be seen to possess 'family resemblances' or 'strands of resemblance' linking very different instances as art. Identifying instances of art is relatively straightforward, but a definition of fine art that includes all possible cases is elusive. Consequently, art has been claimed to exist an 'open' concept.

According to Raymond Williams' Keywords (1976), capitalised 'Art' appears in general utilize in the nineteenth century, with 'Fine Art'; whereas 'fine art' has a history of previous applications, such as in music, poetry, comedy, tragedy and trip the light fantastic; and nosotros should also mention literature, media arts, fifty-fifty gardening, which for David Cooper in A Philosophy of Gardens (2006) can provide "epiphanies of co-dependence". Art, and so, is perhaps "anything presented for our aesthetic contemplation" – a phrase coined past John Davies, former tutor at the School of Art Education, Birmingham, in 1971 – although 'annihilation' may seem also inclusive. Gaining our aesthetic involvement is at to the lowest degree a necessary requirement of art. Sufficiency for something to be art requires significance to art appreciators which endures as long every bit tokens or types of the artwork persist. Paradoxically, such significance is sometimes attributed to objects neither intended equally art, nor specially intended to exist perceived aesthetically – for instance, votive, devotional, commemorative or utilitarian artefacts. Furthermore, aesthetic interests tin can be eclipsed by dubious investment practices and social kudos. When combined with celebrity and harmful forms of narcissism, they tin can egregiously touch on artistic authenticity. These interests can be overriding, and spawn products masquerading as art. Then it's up to discerning observers to spot any Fads, Fakes and Fantasies (Sjoerd Hannema, 1970).

Colin Brookes, Loughborough, Leicestershire

For me art is nothing more and zippo less than the creative ability of individuals to limited their understanding of some aspect of individual or public life, like honey, conflict, fearfulness, or pain. Equally I read a war poem by Edward Thomas, enjoy a Mozart piano concerto, or contemplate a M.C. Escher cartoon, I am oft emotionally inspired by the moment and intellectually stimulated past the idea-process that follows. At this moment of discovery I humbly realize my views may be those shared by thousands, fifty-fifty millions across the earth. This is due in large part to the mass media's ability to control and exploit our emotions. The commercial success of a performance or production becomes the metric by which art is at present almost exclusively gauged: quality in art has been sadly reduced to equating great art with auction of books, number of views, or the downloading of recordings. Besides bad if personal sensibilities about a particular slice of art are lost in the greater rush for immediate acceptance.

So where does that exit the subjective notion that beauty can however be establish in art? If beauty is the outcome of a procedure past which fine art gives pleasance to our senses, and so it should remain a matter of personal discernment, even if exterior forces clamour to take command of information technology. In other words, nobody, including the fine art critic, should exist able to tell the private what is cute and what is not. The earth of art is one of a constant tension between preserving individual tastes and promoting popular acceptance.

Ian Malcomson, Victoria, British Columbia

What nosotros perceive as beautiful does not offend us on whatsoever level. It is a personal judgement, a subjective opinion. A memory from once we gazed upon something cute, a sight ever so pleasing to the senses or to the eye, often time stays with us forever. I shall never forget walking into Balzac'southward firm in France: the odour of lilies was so overwhelming that I had a numinous moment. The intensity of the emotion evoked may not exist possible to explicate. I don't feel it's of import to contend why I call up a flower, painting, dusk or how the light streaming through a stained-glass window is beautiful. The ability of the sights create an emotional reaction in me. I don't await or concern myself that others volition agree with me or non. Can all agree that an human action of kindness is cute?

A affair of beauty is a whole; elements coming together making it so. A single brush stroke of a painting does not lone create the bear on of beauty, but all together, it becomes beautiful. A perfect blossom is cute, when all of the petals together form its perfection; a pleasant, exhilarant scent is also part of the beauty.

In thinking about the question, 'What is beauty?', I've simply come abroad with the idea that I am the beholder whose middle it is in. Suffice it to say, my private cess of what strikes me as beautiful is all I demand to know.

Cheryl Anderson, Kenilworth, Illinois

Stendhal said, "Beauty is the hope of happiness", just this didn't go to the heart of the thing. Whose dazzler are we talking about? Whose happiness?

Consider if a snake fabricated art. What would it believe to be cute? What would information technology condescend to make? Snakes accept poor eyesight and detect the world largely through a chemosensory organ, the Jacobson's organ, or through heat-sensing pits. Would a movie in its human form even make sense to a serpent? So their art, their beauty, would exist entirely alien to ours: information technology would not be visual, and fifty-fifty if they had songs they would be strange; after all, snakes do not have ears, they sense vibrations. So fine art would be sensed, and songs would be felt, if it is even possible to conceive that idea.

From this perspective – a view depression to the ground – we tin see that beauty is truly in the eye of the beholder. It may cantankerous our lips to speak of the nature of beauty in billowy linguistic communication, but we do and then entirely with a forked tongue if we do then seriously. The aesthetics of representing beauty ought not to fool us into thinking beauty, every bit some abstruse concept, truly exists. It requires a viewer and a context, and the value we place on certain combinations of colors or sounds over others speaks of zippo more than preference. Our desire for pictures, moving or otherwise, is because our organs developed in such a mode. A snake would have no use for the visual world.

I am thankful to have homo art over serpent art, simply I would no doubt be amazed at serpentine art. It would crave an intellectual sloughing of many conceptions we take for granted. For that, considering the possibility of this extreme thought is worthwhile: if snakes could write verse, what would information technology exist?

Derek Halm, Portland, Oregon

[A: Sssibilance and sussssuration – Ed.]

The questions, 'What is art?' and 'What is beauty?' are different types and shouldn't be conflated.

With boring predictability, almost all gimmicky discussers of art lapse into a 'relative-off', whereby they become to annoying lengths to demonstrate how open-minded they are and how ineluctably loose the concept of art is. If art is just whatever you want information technology to be, can we not merely cease the chat there? It'southward a done deal. I'll throw playdough on to a canvass, and nosotros tin can pretend to display our modernistic credentials of acceptance and insight. This just doesn't work, and we all know it. If art is to hateful anything, there has to be some working definition of what it is. If art tin can be anything to anybody at someday, then there ends the give-and-take. What makes art special – and worth discussing – is that it stands above or outside everyday things, such as everyday nutrient, paintwork, or sounds. Art comprises special or exceptional dishes, paintings, and music.

Then what, and so, is my definition of fine art? Briefly, I believe there must be at least two considerations to characterization something as 'art'. The first is that there must exist something recognizable in the way of 'author-to-audience reception'. I hateful to say, there must be the recognition that something was fabricated for an audition of some kind to receive, talk over or relish. Implicit in this indicate is the evident recognizability of what the art actually is – in other words, the author doesn't have to tell you it'southward art when you lot otherwise wouldn't have whatsoever idea. The second signal is simply the recognition of skill: some obvious skill has to be involved in making art. This, in my view, would be the minimum requirements – or definition – of art. Fifty-fifty if you disagree with the particulars, some definition is required to make anything at all fine art. Otherwise, what are we even discussing? I'one thousand breaking the mold and ask for brass tacks.

Brannon McConkey, Tennessee
Author of Pupil of Life: Why Condign Engaged in Life, Art, and Philosophy Can Lead to a Happier Being

Human beings announced to have a compulsion to categorize, to organize and define. We seek to impose order on a welter of sense-impressions and memories, seeing regularities and patterns in repetitions and associations, always on the scout for correlations, eager to decide cause and effect, so that we might requite sense to what might otherwise seem random and inconsequential. Nonetheless, particularly in the terminal century, nosotros have also learned to accept pleasure in the reflection of unstructured perceptions; our artistic means of seeing and listening have expanded to encompass disharmony and irregularity. This has meant that culturally, an ever-widening gap has grown between the attitudes and opinions of the majority, who go along to ascertain art in traditional means, having to exercise with club, harmony, representation; and the minority, who wait for originality, who try to see the world anew, and strive for difference, and whose disquisitional exercise is rooted in abstraction. In between there are many who abjure both extremes, and who both find and give pleasure both in defining a personal vision and in practising craftsmanship.

There will always exist a challenge to traditional concepts of art from the shock of the new, and tensions effectually the appropriateness of our understanding. That is how things should be, as innovators push button at the boundaries. At the same fourth dimension, we will continue to have pleasure in the beauty of a mathematical equation, a finely-tuned machine, a successful scientific experiment, the technology of landing a probe on a comet, an accomplished poem, a striking portrait, the sound-earth of a symphony. We apportion significance and meaning to what we find of value and wish to share with our fellows. Our art and our definitions of beauty reverberate our human nature and the multiplicity of our creative efforts.

In the end, because of our individuality and our varied histories and traditions, our debates will always be inconclusive. If we are wise, nosotros will await and heed with an open spirit, and sometimes with a wry smile, e'er celebrating the variety of human imaginings and achievements.

David Howard, Church Stretton, Shropshire

Adjacent Question of the Calendar month

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