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The Theory of Art

the Theory of Art

Philosophical Quarterly, 1969) and his books Aesthetics: An Introduction (1971) and Art and the Aesthetic: An Institutional Analysis (1974). It was mainly dominant in the nonrepresentational arts, such as abstract visual arts and music. The question of whether a new artifact is art or not, is not factual, but rather a decision problem, where the verdict turns on whether or not we enlarge our set of conditions for applying the concept (p. He continued, Suppose, then, tests reveal that these hypotheses fail to hold, that the theory, now beyond repair, must be replaced. In The Role of Theory in Aesthetics (1956 Morris Weitz famously argues that individually necessary and jointly sufficient conditions will never be forthcoming for the concept art because it is an open concept. Who really is to determine what that work of art was meant to express? In Beardsleys words, something is art just in case it is either an arrangement of conditions intended to be capable of affording an experience with marked aesthetic character or (incidentally) an arrangement belonging to a class or type of arrangements that is typically intended. Painters arrange conditions in the paint/canvas medium, and dancers arrange the conditions of their bodily medium, for example. For him expressionism in art is a means of communication, in such as a language. It is either question-begging or it relies on an arbitrary distinction between artworks and commentaries on artworks.

Following, would be the artists feelings and the arts universality. Often, if the skill is being used in a functional object, people will consider it a craft instead of art, a suggestion which is highly disputed by many Contemporary Craft thinkers. Perhaps art should be thought of as a cluster of related concepts in a Wittgensteinian fashion (as in Weitz or Beuys ).

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For Levinson, "a work of art is a thing intended for regard-as-a-work-of-art: regard in any of the ways works of art existing prior to it have been correctly regarded" (1979,. Formalism edit, main article: Formalism (art the formalist theory of art asserts that we should focus only on the formal properties of art-the "form" not the "content". Yanal, Danto's essay, in which he coined the term artworld, outlined the first institutional theory of art. (45) In the creation of an artwork, the insight plays a causal role in bringing about actions sufficient for realizing particular aesthetic properties. Collingwoods theory on the other hand states sees the expression of art in the exploration of disposition and emotional experience from a particular perspective; the experience of art is neither the calculated arousal of emotion in an audience nor the pre-established formulization of culture.

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