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Still looking for deals on Art ? Find our amazing Art offers at our top source site today where we have compared Art for you. ask.com About Art(1844–1926). Art refers to a diverse range of human activities and artifacts, and may be used to cover all or any of [the arts], including [music], [literature] and other forms. It is most often used to refer specifically to the [visual arts], including mediums such as [painting], [sculpture], and [printmaking]. [Aesthetics] is the branch of philosophy which considers art. Visual art is defined as the arrangement of colors, forms, or other elements "in a manner that affects the sense of beauty, specifically the production of the beautiful in a graphic or plastic medium". The American Heritage Dictionary:Fourth Edition The nature of art has been described by [Richard Wollheim] as "one of the most elusive of the traditional problems of human culture".Richard Wollheim, Art and its objects, p.1, 2nd edn, 1980, Cambridge University Press, ISBN 0521 29706 0 It has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating [Formalism (art)] for their own sake, and as [mimesis] or [Representation (arts)].Jerrold Levinson, The Oxford Handbook of Aesthetics, Oxford university Press, 2003, p5. ISBN 0199279454 [Leo Tolstoy] identified art as a use of indirect means to communicate from one person to another. [Benedetto Croce] and [R.G. Collingwood] advanced the [idealist] view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator.Jerrold Levinson, The Oxford Handbook of Aesthetics, Oxford university Press, 2003, p16. ISBN 0199279454R.G. Collingwood's view, expressed in The Principles of Art, is considered in Wollheim, op. cit. 1980 pp 36-43 Art as form has its roots in the philosophy of [Immanuel Kant], and was developed in the early twentieth century by [Roger Fry] and [Clive Bell]. Art as mimesis or representation has deep roots in the philosophy of [Aristotle]. Traditionally the term art was used to refer to any skill or mastery, a concept which altered during the [Romanticism] period, when art came to be seen as "a special faculty of the human mind to be classified with religion and science". The Gombrich Archive: Press statement on The Story of Art Generally art is a (product of) human activity, made with the intention of stimulating the human senses as well as the human mind; by transmitting emotions and/or ideas. Beyond this description, there is no general agreed-upon definition of art, since defining the boundaries of "art" is subjective. The evaluation of art has become especially problematic since the 20th century. Wollheim distinguishes three approaches: the [Moral realism], whereby aesthetic quality is an absolute value independent of any human view; the [Objectivity (philosophy)], whereby it is also an absolute value, but is dependent on general human experience; and the [Relativist] [Aesthetic relativism], whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans.Wollheim 1980, op. cit. Essay VI, especially pp. 231-39 An object may be characterized by the intentions, or lack thereof, of its creator, regardless of its apparent purpose. A cup, which ostensibly can be used as a container, may be considered art if intended solely as an ornament, while a painting may be deemed craft if mass-produced. , [Vincent van Gogh], September 1888. Usage The most common usage of the word "art," which rose to prominence after 1750, is understood to denote [skill] used to produce an [Aesthetics] result.Hatcher, 1999 [Encyclopædia Britannica#CD-ROM edition and Britannica Online] defines it as "the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others."Britannica Online By any of these definitions of the word, artistic works have existed for almost as long as [human]kind: from early [pre-historic art] to [contemporary art]. Many books and journal articles have been written about the concept of "art".Davies, 1991 and Carroll, 2000 Where [Adorno] said in 1970 "It is now taken for granted that nothing which concerns art can be taken for granted any more,"Adorno, Theodor W. Aesthetic Theory. (1970) in 1998, [Walt Weaver] claimed that "It is self-evident that nothing concerning art is self-evident anymore."Danto, 2003 The first and broadest sense of art is the one that has remained closest to the older Latin meaning, which roughly translates to "skill" or "craft," and also from an [Proto-Indo-European language] meaning "arrangement" or "to arrange". In this sense, art is whatever is described as having undergone a deliberate process of arrangement by an agent. A few examples where this meaning proves very broad include artifact, artificial, artifice, [artillery], [Medicine] arts, and [military] arts. However, there are many other colloquial uses of the word, all with some relation to its [etymology]. The second and more recent sense of the word art is as an abbreviation for creative art or fine art. Fine art means that a skill is being used to express the artist’s creativity, or to engage the audience’s aesthetic sensibilities, or to draw the audience towards consideration of the finer things. Often, if the skill is being used in a common or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it will be considered [Commercial art] instead of art. On the other hand, crafts and [design] are sometimes considered [applied art]. Some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference.Novitz, 1992 However, even fine art often has goals beyond pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically-, spiritually-, or philosophically-motivated art; to create a sense of [beauty] (see [aesthetics]); to explore the nature of perception; for pleasure; or to generate strong [emotion]s. The purpose may also be seemingly nonexistent. artist Ma Lin, c. 1250. 24,8 × 25,2 cm.The ultimate derivation of fine in fine art comes from the [philosophy] of [Aristotle], who proposed four causes or explanations of a thing. The [final cause] of a thing is the purpose for its existence, and the term fine art is derived from this notion. If the final cause of an artwork is simply the artwork itself, "art for art's sake", and not a means to another end, then that artwork could appropriately be called fine. The closely related concept of beauty is classically defined as "that which when seen, pleases". Pleasure is the final cause of beauty and thus is not a means to another end, but an end in itself. Art can describe several things: a study of creative skill, a process of using the creative skill, a product of the creative skill, or the audience’s experience with the creative skill. The creative arts (art as discipline) are a collection of disciplines (arts) that produce artworks (art as objects) that are compelled by a personal drive (art as activity) and echo or reflect a message, mood, or symbolism for the viewer to interpret (art as experience). Artworks can be defined by purposeful, creative interpretations of limitless concepts or ideas in order to communicate something to another person. Artworks can be explicitly made for this purpose or interpreted based on images or objects. Art is something that stimulates an individual's thoughts, emotions, beliefs, or ideas through the senses. It is also an expression of an idea and it can take many different forms and serve many different purposes. Although the application of scientific theories to derive a new scientific theory involves skill and results in the "creation" of something new, this represents science only and is not categorized as art. Theories . 1917In the [nineteenth century], artists were primarily concerned with ideas of [truth] and [beauty]: typically the aesthetic theorist [John Ruskin], who championed the raw naturalism of [J. M. W. Turner], saw art's role as the communication by artifice of an essential truth that could only be found in nature. "go to nature in all singleness of heart, rejecting nothing and selecting nothing, and scorning nothing, believing all things are right and good, and rejoicing always in the truth." [Modern Painters] Volume I, 1843, by [John Ruskin] There was a radical break in the thinking about art in the early twentieth century with the arrival of [Modernism], and then in the late twentieth century with the advent of [postmodernism]. [Clement Greenberg]'s 1960 article "Modernist Painting" defined Modern Art as "the use of characteristic methods of a discipline to criticize the discipline itself".Modern Art and Modernism: A Critical Anthology. ed. Francis Frascina and Charles Harrison, 1982. Greenberg originally applied this idea to the Abstract Expressionist movement and used it as a way to understand and justify flat (non-illusionistic) abstract painting:{{quote] becomes clear when seen within this context; when submitting a urinal, titled fountain, to the Society of Independent Artists exhibit in 1917 he was critiquing the art exhibition using its own methods. [Andy Warhol] became an important artist through critiquing popular culture, as well as the [art world], through the language of that popular culture. The later [postmodern] artists of the 1980s, 1990s, and 2000s took these ideas further by expanding this technique of self-criticism beyond high art to all cultural image-making, including fashion images, comics, billboards and pornography. Art and class opened up the interior court to create the expansive entrance [cour d'honneur], later copied all over EuropeArt has been perceived as belonging to one social class and often excluding others. In this context, art is seen as an upper-class activity associated with wealth, the ability to purchase art, and the leisure required to pursue or enjoy it. For example, the [Palace of Versailles] or the [Hermitage Museum] in [St. Petersburg] with their vast collections of art, amassed by the fabulously wealthy royalty of Europe exemplify this view. Collecting such art is the preserve of the rich, in one viewpoint. Before the 13th century in [Europe], artisans were often considered to belong to a lower [caste], however during the [Renaissance] artists gained an association with high status. Fine and expensive goods have been popular markers of status in many cultures, and continue to be so today. There has been a cultural push in the other direction since at least [November 8], [1793] when the Louvre, which had been a private castle of the king of France, was opened to the public as an art museum during the [French Revolution]. Most modern public museums and art education programs for children in schools can be traced back to this impulse to have art be available to everyone. Since then both the earlier examples were also converted into public museums. The palaces of Versailles also as part of the French Revolution, the Hermitage much later after the [Soviet] revolution of 1917. Museums in the United States tend to be gifts from the very rich to the masses ([The Metropolitan Museum of Art] in [New York City], for example, was created by [John Taylor Johnston], a railroad executive whose personal art collection seeded the museum.) But despite all this, at least one of the important functions of art in the 21st century remains as a marker of wealth and social status. , 1978 :Everyone an artist — On the way to the libertarian form of the social organismThere have been attempts by artists to create art that can not be bought by the wealthy as a status object. One of the prime original motivators of much of the art of the late 1960s and 1970s was to create art that could not be bought and sold. It is "necessary to present something more than mere objects" said the major post war German artist Joseph Beuys. This time period saw the rise of such things as [performance art], [video art], and [conceptual art]. The idea was that if the artwork was a performance that would leave nothing behind, or was simply an idea, it could not be bought and sold. "Democratic precepts revolving around the idea that a work of art is a commodity impelled the aesthetic innovation which germinated in the mid-1960s and was reaped throughout the 1970s. Artists broadly identified under the heading of Conceptual art... substituting performance and publishing activities for engagement with both the material and materialistic concerns of painted or sculptural form... endeavored to undermine the art object qua object." Rorimer, Anne: New Art in the 60s and 70s Redefining Reality, page 35. Thames and Hudson, 2001. In the decades since, these ideas have been somewhat lost as the art market has learned to sell limited edition DVDs of video works, invitations to exclusive performance art pieces, and the objects left over from conceptual pieces. Many of these performances create works that are only understood by the elite who have been educated as to why an idea or video or piece of apparent garbage may be considered art. The marker of status becomes understanding the work instead of necessarily owning it, and the artwork remains an upper-class activity. "With the widespread use of DVD recording technology in the early 2000s, artists, and the gallery system that derives its profits from the sale of artworks, gained an important means of controlling the sale of video and computer artworks in limited editions to collectors." Robertson, Jean and Craig McDaniel: Themes of Contemporary Art, Visual Art after 1980, page 16. Oxford University Press, 2005. Another example of this shift is the art of [Chris Burden]. Chris Burden is most famous for his 1971 performance art piece Shoot in which he had a friend shoot him in the arm with a 22 rifle (and in which nothing was sold). By the late 1980s in exhibitions and a museum retrospective he was exhibiting "relics" of early performance art pieces in plexiglass boxes, including two nails that he used to nail himself to the back of a Volkswagen Beetle in the 1974 artwork Trans-Fixed. By 2003 he was selling the artwork Gold Bullets, 22-karat gold bullets that called to mind his most famous work, in plexiglass boxes set on a high pedestal at the [Gagosian Gallery]. This allowed collectors to buy bullets that allude to this important work, are by this artist, seem to have other added value in that they are made of gold, and will be understood as important by others that know the history of conceptual art. Utility One of the defining characteristics of fine art as opposed to applied art is the absence of any clear usefulness or [utilitarianism] value. However, this requirement is sometimes criticized as being class prejudice against labor and utility. Opponents of the view that art cannot be useful, argue that all human activity has some utilitarian function, and the objects claimed to be "non-utilitarian" actually have the function of attempting to mystify and codify flawed social hierarchies. It is also sometimes argued that even seemingly non-useful art is not useless, but rather that its use is the effect it has on the psyche of the creator or viewer. Art is also used by art therapists, psychotherapists and clinical psychologists as [art therapy]. Art can also be used as a tool of [Personality Test]. The end product is not the principal goal in this case, but rather a process of healing, through creative acts, is sought. The resultant piece of artwork may also offer insight into the troubles experienced by the subject and may suggest suitable approaches to be used in more conventional forms of psychiatric therapy. [graffiti] on a wall in Rome. [Graffiti#uses] and other types of [street art] are graphics and images that are [Spray painting] or [stencil]led on publicly viewable walls, buildings, buses, trains, and bridges, usually without permission. This type of art is part of various youth cultures, such as the US [hip-hop] culture. It is used to express political views and depict creative images. In a social context, art can serve to boost the public's morale. Art is often utilized as a form of [propaganda], and thus can be used to subtly influence popular conceptions or mood. In some cases, artworks are appropriated to be used in this manner, without the creator having initially intended the art to be used as propaganda. From a more anthropological perspective, art is often a way of passing ideas and concepts on to later generations in a (somewhat) universal language. The interpretation of this language depends upon the observer’s perspective and context. So conversely the very subjectivity of art demonstrates its importance in facilitating the exchange and discussion of rival ideas, or to provide a social context in which disparate groups of people might congregate and mingle. Classification disputes |It is common in the [history of art] for people to dispute whether a particular form or work, or particular piece of work counts as art or not. In fact for much of the past century the idea of art has been to simply challenge what art is. [Philosophers] of Art call these disputes “classificatory disputes about art.” For example, Ancient Greek philosophers debated about whether or not [ethics] should be considered the "art of living well". Classificatory disputes in the 20th century included: [cubist] and [impressionist] paintings, [Duchamp]’s [Fountain (Duchamp)], the [movies], superlative imitations of [banknotes], propaganda, and even a crucifix immersed in urine. [Conceptual art] often intentionally pushes the boundaries of what counts as art and a number of recent conceptual artists, such as [Damien Hirst] and [Tracy Emin] have produced works about which there are active disputes. [Video games] and [role-playing games] are both fields where some recent critics have asserted that they do count as art, and some have asserted that they do not. Philosopher David Novitz has argued that disagreement about the definition of art are rarely the heart of the problem. Rather, "the passionate concerns and interests that humans vest in their social life" are "so much a part of all classificatory disputes about art" (Novitz, 1996). According to Novitz, classificatory disputes are more often disputes about our values and where we are trying to go with our society than they are about theory proper. For example, when the [Daily Mail] criticized Hirst's and [Tracey Emin]’s work by arguing "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all" they are not advancing a definition or theory about art, but questioning the value of Hirst’s and Emin’s work. Controversial art [Theodore Gericault]'s "[The Raft of the Medusa]" (1820), was a social commentary on a current event, unprecedented at the time. [Edouard Manet]'s "[The Luncheon on the Grass]" (1863), was considered scandalous not because of the nude woman, but because she is seated next to fully-dressed men. [John Singer Sargent]'s "[Portrait of Madame X]" (1884), caused a huge uproar over the reddish pink used to color the woman's ear lobe, considered far too suggestive and supposedly ruining the high-society model's reputation. In the [twentieth century], [Pablo Picasso]'s [Guernica (painting)] (1937) used arresting [cubism] techniques and stark monochromatic oils, to depict the harrowing consequences of a contemporary bombing of a small, ancient Basque town. [Leon Golub]'s Interrogation III (1981), depicts a female nude, hooded detainee strapped to a chair, her legs open to reveal her sexual organs, surrounded by two tormentors dressed in everyday clothing. [Andres Serrano]'s [Piss Christ] (1989) is a photograph of a crucifix, sacred to the Christian religion and representing [Jesus Christ]'s sacrifice and final suffering, submerged in a glass of the artist's own urine. The resulting uproar led to comments in the [United States Senate] about public funding of the arts. In the [twenty-first century], [Eric Fischl] created Tumbling Woman as a memorial to those who jumped or fell to their death in the attacks on the [World Trade Center] on [September 11, 2001]. Initially installed at [Rockefeller Center] in New York City, within a year the work was removed as too disturbing. Controversial Art in History. Forms, genres, mediums, and styles The creative arts are often divided into more specific categories, such as [decorative art]s, [plastic arts], [performing arts], or [literature]. So for example [painting] is a form of visual art, and [poetry] is a form of literature. An art form is a specific form for artistic expression to take, it is a more specific term than art in general, but less specific than genre. Some examples include, but are by no means limited to:
An artistic [recording medium] is the substance the artistic work is made out of. So for example stone and bronze are both mediums that sculpture uses sometimes. Multiple forms can share a medium (poetry and music, both use sound), or one form can use multiple media. by Katsushika [Hokusai] (Japanese, 1760–1849), colored woodcut print's [Mona Lisa], showing the painting technique of [sfumato]A genre is a set of conventions and styles within an art form and media. For instance, well recognized genres in film, for example, are [Western (genre)], [horror (genre)] and [romantic comedy film]. Genres in music include [death metal] and [trip hop]. Genres in painting include [still life], and [Landscape art]. A particular work of art may bend or combine genre but each genre has a recognizable group of conventions, clichés and troupes. (One note: the word genre has a second older meaning within painting, [genre painting] was a phrase used in the 17th to 19th century to refer specifically to paintings of scenes of everyday life and can still be used in this way.) An artwork, artist’s, or movements style is the distinctive method and form that art takes. Any loose brushy, dripped or poured abstaract painting is called expressionistic (with a lower case "e" and the "ic" at the end). Often these styles are linked with a particular historical period, set of ideas, and particular [art movement]. So [Jackson Pollock] is called an [Abstract Expressionist]. Because a particular style has very specific cultural meanings it is important to be sensitive to differences in technique. [Roy Lichtenstein]'s paintings are not [Pointillism], even though it uses of dots, because it is not aligned with the original proponents of Pointillism. Lichtenstein used Ben-Day dots: they are evenly-spaced and create flat areas of color. These types of dots were used to color comic strips and are intended to combine the high art of painting with the low art of comics - to comment on culture and its unreality. Pointillism employs dots that are spaced in a way to create variation in color and depth - it was an attempt to paint images that were closer to the way we really see color - an attempt to get closer to reality. They both use dots but the meaning is opposite. These are all ways of beginning to define a work of art, to narrow it down. "Imagine you are an art critic whose mission is to compare the meanings you find in a wide range of individual artworks. How would you proceed with your task? One way to begin is to examine the materials each artist selected in making an object, image video, or event. The decision to cast a sculpture in bronze, for instance, inevitably effects its meaning; the work becomes something different than if it had been cast in gold or plastic or chocolate, even if everything else about the artwork remained the same. Next, you might examine how the materials in each artwork have become an arrangement of shapes, colors, textures, and lines. These, in turn, are organized into various patterns and compositional structures. In your interpretation, you would comment on how salient features of the form contribute to the overall meaning of the finished artwork. in the end the meaning of most artworks... is not exhausted by a discussion of materials, techniques, and form. Most interpretations also include a discussion of the ideas and feelings the artwork engenders." Robertson, Jean and Craig McDaniel: Themes of Contemporary Art, Visual Art after 1980, page 4. Oxford University Press, 2005. History Art predates history; sculptures, [cave paintings], rock paintings, and [petroglyphs] from the [Upper Paleolithic] starting roughly 40,000 years ago have been found, but the precise meaning of such art is often disputed because so little is known about the cultures that produced them. The oldest art objects in the world: a series of tiny, drilled snail shells about 75,000yrs old, http://www.buzzle.com/editorials/4-15-2004-53003.asp were discovered in a South African cave, see [Art of South Africa]. The great traditions in art have a foundation in the art of one of the great ancient civilizations: [Ancient Egypt], [Mesopotamia], [History of Iran], [History of India], [China], [Ancient Greece], [Ancient Rome] or [Arabia] (ancient [Yemen] and [Oman]). Each of these centers of early civilization developed a unique and characteristic style in their art. Because of the size and duration these civilizations, more of their art works have survived and more of their influence has been transmitted to other cultures and later times. They have also provided the first records of how [artist]s worked. For example, this period of Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty and anatomically correct proportions In [Byzantine art] and [Gothic art] of the Western [Middle Ages], art focused on the expression of Biblical and not material truths, and emphasized methods which would show the higher unseen glory of a heavenly world, such as the use of gold in paintings, or glass in mosaics or windows, which also presented figures in idealized, patterned (i.e. "flat") forms. [Mahmud II] of the [Ottoman Empire] was written in [Arabic calligraphy]. It reads Mahmud Khan son of Abdulhamid is forever victorious. The western [Renaissance] saw a return to valuation of the material world, and the place of humans in it, and this paradigm shift is reflected in art forms, which show the corporeality of the human body, and the three dimensional reality of landscape. artist [Chen Hongshou].In the east, [Islamic art]'s rejection of [iconography] led to emphasis on geometric patterns, [Islamic calligraphy], and [Islamic architecture]. Further east, religion dominated artistic styles and forms too. India and Tibet saw emphasis on painted [sculptures] and [dance] with religious painting borrowing many conventions from sculpture and tending to bright contrasting colors with emphasis on outlines. China saw many art forms flourish, jade carving, bronzework, pottery (including the stunning [terracotta army] of Emperor Qin), poetry, calligraphy, music, painting, drama, fiction, etc. Chinese styles vary greatly from era to era and are traditionally named after the ruling dynasty. So, for example, [Tang Dynasty] paintings are monochromatic and sparse, emphasizing idealized landscapes, but [Ming Dynasty] paintings are busy, colorful, and focus on telling stories via setting and composition. Japan names its styles after imperial dynasties too, and also saw much interplay between the styles of calligraphy and painting. [Woodblock printing] became important in Japan after the 17th century. The western [Age of Enlightenment] in the 18th century saw artistic depictions of physical and rational certainties of the clockwork universe, as well as politically revolutionary visions of a post-monarchist world, such as Blake’s portrayal of Newton as a divine geometer, or David’s propagandistic paintings. This led to [Romanticism] rejections of this in favor of pictures of the emotional side and individuality of humans, exemplified in the novels of [Goethe]. The late 19th century then saw a host of artistic movements, such as [academic art], [symbolism], [impressionism] and [fauvism] among others. By the 20th century these pictures were falling apart, shattered not only by new discoveries of relativity by [Einstein] http://books.guardian.co.uk/review/story/0,,1035752,00.html Does time fly?Peter Galison's Empires of Time, a historical survey of Einstein and Poincaré and of unseen psychology by [Freud], Contradictions of the Enlightenment: Darwin, Freud, Einstein and modern art - Fordham Universitybut also by unprecedented technological development accelerated by the implosion of civilisation in two world wars. The history of twentieth century art is a narrative of endless possibilities and the search for new standards, each being torn down in succession by the next. Thus the parameters of [Impressionism], [Expressionism], [Fauvism], [Cubism], [Dadaism], [Surrealism], etc cannot be maintained very much beyond the time of their invention. Increasing [globalization] interaction during this time saw an equivalent influence of other cultures into Western art, such as Pablo Picasso being influenced by [African art]. Japanese woodblock prints (which had themselves been influenced by Western Renaissance draftsmanship) had an immense influence on Impressionism and subsequent development. Then African sculptures were taken up by Picasso and to some extent by [Matisse]. Similarly, the west has had huge impacts on Eastern art in 19th and 20th century, with originally western ideas like [Communism] and [Post-Modernism] exerting powerful influence on artistic styles. Modernism, the idealistic search for truth, gave way in the latter half of the 20th century to a realization of its unattainability. Relativity was accepted as an unavoidable truth, which led to the period of [contemporary art] and [List of postmodern critics], where cultures of the world and of history are seen as changing forms, which can be appreciated and drawn from only with irony. Furthermore the separation of cultures is increasingly blurred and some argue it is now more appropriate to think in terms of a global culture, rather than regional cultures. Characteristics Art tends to facilitate intuitive rather than rational understanding, and is usually consciously created with this intention. [Fine art] intentionally serves no other purpose. As a result of this impetous, works of art are elusive, refractive to attempts at classification, because they can be appreciated in more than one way, and are often susceptible to many different interpretations. For example, in the case of [Gericault]'s [Raft of the Medusa], special knowledge concerning the shipwreck that the painting depicts is not a prerequisite to appreciating it, but allows the appreciation of Gericault's political intentions in the piece. Even art that superficially depicts a mundane event or object, may invite reflection upon elevated themes. Traditionally, the highest achievements of art demonstrate a high level of ability or fluency within a medium. This characteristic might be considered a point of contention, since many modern artists (most notably, conceptual artists) do not themselves create the works they conceive, or do not even create the work in a conventional, demonstrative sense, for instance, [Tracey Emin]'s [My Bed]. Art has a transformative capacity: confers particularly appealing or aesthetically satisfying structures or forms upon an original set of unrelated, passive constituents. Skill . Detail from [Michelangelo]'s fresco in the [Cappella Sistina] (1511)Art can connote a sense of trained ability or mastery of a [Media (arts)]. Art can also simply refer to the developed and efficient use of a [language] to convey meaning with immediacy and or depth. Basically, art is an act of expressing our feelings, thoughts, and observations. There is an understanding that is reached with the material as a result of handling it, which facilitates one's thought processes. A common view is that the epithet “art”, particular in its elevated sense, requires a certain level of creative expertise by the artist, whether this be a demonstration of technical ability or an originality in stylistic approach such as in the plays of [Shakespeare], or a combination of these two. For example, a common contemporary criticism of some [modern art] occurs along the lines of objecting to the apparent lack of skill or ability required in the production of the artistic object. One might take [Tracey Emin]'s [My Bed], or Hirst's [The Physical Impossibility of Death in the Mind of Someone Living], as examples of pieces wherein the artist exercised little to no traditionally recognised set of skills, but may be said to have innovated by exercising skill in manipulating the [mass media] as a medium. In the first case, Emin simply slept (and engaged in other activities) in her bed before placing the result in a gallery. She has been insistent that there is a high degree of selection and arrangement in this work, which include objects such as underwear and bottles around the bed. The shocking mundanity of this arrangement has proved to be startling enough to lead others to begin to interpret the work as art. In the second case, Hirst came up with the conceptual design for the artwork. Although he physically participated in the creation of this piece, he has left the eventual creation of many other works to employed artisans. In this case the celebrity of Hirst is founded entirely on his ability to produce shocking concepts, the actual production is, as with most objects a matter of assembly. These approaches are exemplary of a particular kind of contemporary art known as conceptual art. Judgments of value , [Australia]Somewhat in relation to the above, the word art is also used to apply judgments of value, as in such expressions like "that meal was a work of art" (the cook is an artist), or "the art of deception," (the highly attained level of skill of the deceiver is praised). It is this use of the word as a measure of high quality and high value that gives the term its flavor of subjectivity. Making judgments of value requires a basis for criticism. At the simplest level, a way to determine whether the impact of the object on the senses meets the criteria to be considered art, is whether it is perceived to be attractive or repulsive. Though perception is always colored by experience, and is necessarily subjective, it is commonly taken that - that which is not aesthetically satisfying in some fashion cannot be art. However, "good" art is not always or even regularly aesthetically appealing to a majority of viewers. In other words, an artist's prime motivation need not be the pursuit of the aesthetic. Also, art often depicts terrible images made for social, moral, or thought-provoking reasons. For example, [Francisco Goya]'s painting depicting the Spanish shootings of [3rd of May] [1808], is a graphic depiction of a firing squad executing several pleading civilians. Yet at the same time, the horrific imagery demonstrates Goya's keen artistic ability in composition and execution and his fitting social and political outrage. Thus, the debate continues as to what mode of aesthetic satisfaction, if any, is required to define 'art'. The assumption of new values or the rebellion against accepted notions of what is aesthetically superior need not occur concurrently with a complete abandonment of the pursuit of that which is aesthetically appealing. Indeed, the reverse is often true, that in the revision of what is popularly conceived of as being aesthetically appealing, allows for a re-invigoration of aesthetic sensibility, and a new appreciation for the standards of art itself. Countless schools have proposed their own ways to define quality, yet they all seem to agree in at least one point: once their aesthetic choices are accepted, the value of the work of art is determined by its capacity to transcend the limits of its chosen medium in order to strike some universal chord, by the rarity of the skill of the artist, or in its accurate reflection in what is termed the [zeitgeist]. Communicating emotion Art appeals to many of the human emotions. It can arouse [aesthetic] or [morality] feelings, and can be understood as a way of communicating these feelings. [Artist]s express something so that their audience is aroused to some extent, but they do not have to do so consciously. Art explores what is commonly termed as [human condition] that is essentially what it is to be human.Effective art often brings about some new insight concerning the human condition either singly or en-mass, which is not necessarily always positive, or necessarily widens the boundaries of collective human ability. The degree of skill that the artist has, will affect their ability to trigger an emotional response and thereby provide new insights, the ability to manipulate them at will shows exemplary skill and determination. Cultural traditions (934-962), [Five Dynasties and Ten Kingdoms], ChinaSeveral genres of art are grouped by cultural relevance, examples can be found in terms such as:
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