The Architectural Implications of the Institutional View of Art - Essay Example

Name: XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX Institution: XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX Professor: XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX Course: XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX Date of Submission: XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX Architecture Abstract Art and architecture are two important human activities that have changed over time. These fields are particularly influential in shaping human life and existence. It is clear from past research that architecture and art have not remained static but changed over time as needs of humanity changed. This change has been attributed to emergence of movements in art and architecture to view art and design differently. Structures were constructed to encompass the art from society. Over time, it has become almost impossible to define what architecture is as well as draw that diversity between art and architecture. This has led to a wide range of controversies from different scholars. Even the current technological field to do with computers applies architecture in defining some of the occurrences (Danto, 1964, pg 214). The truth is that architecture and art are one and the same thing based on the way they influence society. This paper examines a number of perspectives in defining architecture and how architecture can be linked to art. This is because a number of writers have differed in the way they link art and architecture. As such, the paper will find a common ground where the two fields meet. The rising movement along the architecture development period similarly held diverse views. Following this, the paper will look at what concerned the institutional view of art and the implications that followed this field. In addition, art as being part of the artists will be surveyed so that examples of artistic material so far built by man can be put into consideration (Danto, 1964, pg 204). Ultimately, the conceptual art will be dealt with in relation to its implication especially to the human society. What Is Architecture? As time go by, human life also change. This is attributed to the changing technology in human life. One of the areas that have experienced transformations is architecture. It has changed particularly from the ancient Egyptian, Greek and Roman architecture to the postmodern architectural designs. In as much as there have been many attempts to draws clear boundaries on what architecture entails, a lot of controversies have been noted within the fields. Different scholars have held different views on what architecture actually is. Still, architecture has been closely linked to art. It is impossible to separate art and architecture (Wollheim, 1987, pg 41). Based on some scholars, architecture is understood as a passion, a career or a calling. The field can well be understood when taken as a science as well as business. From the scientific view, architecture is a social art and artful science (Wollheim, 1987, pg 44). In essence, architecture offers a view of place as well as activities undertaken by humanity. It is one area that incorporates both man-made structures and environmental aesthetics. On the other hand, some scholars like Louis Torres and Michelle Marder Kamhi in their work, “What Art Is” oppose to the fact that architecture is an art. This is one of the most controversial perspectives that have received a lot of criticism as having flaws within its understanding of what architecture is. However, they point out that art is pertinent to human life since it affects them socially, economically as well as politically. This possibly is the only strength associated with these scholars’ book on architecture and art. It has an implication that if art and architecture are related, then architecture forms every aspect of human life. From the perspectives so far taken by scholars on the relationship between art and architecture, it can be noted that architecture is not just a theory but encompasses more of practical work. Fieldwork is hence imperative in the journey to define what makes architecture (Binkley, 1977, pg 101). On the other hand, architecture can be taken in terms of hardware and software. The architecture of a system implies its outward appearance. According to the computer perspective, architecture can be taken as being open or closed (Weitz, 1956, pg 61). An open architecture gives room for the devices that make up the system to be compatible to programs. A closed system however is that which the design is proprietary making it hard to link to other programs within the same system. As much as some researchers have pointed out that architecture recreates reality, this may not yet be true since architecture creates structures for human habitation. This indicates that values held by man in the wider field of architecture. Most importantly, architecture can therefore be understood as basically entailed with making room for human existence. It focuses primarily on the utilitarian side of man to the creations he attempts to bring on the face of the earth. Architecture therefore involves architects in the creation of space for man just like art is revealed through artist’s work. Nevertheless, the perception that architecture is not art can only be embraced when architectural designs are taken from a narrow perspective of fashion. The ultimate definition of architecture can therefore be said as being a selective re-creation of reality based on specific values made by the architect (Danto, 1964, pg 217). Based on what most researchers in the field have pointed out as a definition of architecture, I can integrate all this in simple words as architecture being what human beings engage in. This implies that art and architecture affects the society in everyday life. Art and architecture come from all activities that make human life better from construction to computer software. The Architectural Implications of the Institutional View of Art The institutional view of art is well brought out by Arthur Danto in his work, “The Artworld”. In this work, there are a wide range of implications and view brought out by the author (Kandinsky, 2006, pg 183). He attempts to unveil Warhol’s Brillo boxes paradox. In the first place of his view on art and architecture, he suggests a view of transformation in theories of art. He says that such transformations should be done in line with the change of scientific theory. This brings us back to the perception that architecture is a science of structures. According to him, in order to invent an entirely novel collection of artworks, there should be discovery of a set of novel ideas. Just like science carries out its discovery of new facts, art should get new ideas through conservative extension of already available theories (Miller, 1996, pg 75). The theory chosen depends on whether it tries to explain the phenomena as amicably as possible or not. The new discoveries in theory have to give an explanation of the available activities and at the same time take into consideration new events in the art world. There is therefore need to develop a new theory that incorporates both old and novel artworks as well as the newly invented ones. The implication of the institutional view of art points to the acceptance of postimpressionism painting. During this era, older artworks were taken as imitating reality (Gamwell, 2002, pg 59). However, postmodernism failed to accomplish the imitation theory since there was no sufficiency in its mimetic level. For this reason, acceptance of the postmodernism perspective required that novel notions be invented to incorporate both the new art and old ones. As a result, Danto suggested the use of Reality theory in explaining the trend of new as well as older artworks. Danto asserts, "According to it, the artists in question were to be understood not as unsuccessfully imitating real forms but as successfully creating new ones, quite as real as the forms which the older art had been thought, in its best examples, to be creditably imitating. (Diffey, 1969, pg 23)" This statement has a clear implication of what the proponent of the institutional view of art perceived as the element of the Reality Theory. Taken from other scholars’ views such as what H.H. Amason says, impressionism similarly marks the starting point of a movement in art. It was through this that a group of artists put forward the origin of a painting as an item. It is a made structure in its own respect. The object in such a case has structure and laws governing its creation: a reflection of the link between art and architecture. It imitates the world of humanity as well as the environment in relation to architectural designs. At this point, the read is able to identify the reality lying within art and nature. The perspective of the institutional view of art theory made it possible to accept postmodernism artworks through a shift from considering paintings as entirely mimetic which could have brought out that ignorance of reality within the painting. This is attributed to the concentration put on the actual objects the paintings may be representing. This however does not imply that paintings were not taken as actual object before the postmodernism movement. Before this period, concerns of formal components in paintings were definitely incorporated in information technology (Eaton, 1983, pg 40). According to the institutional view of art, it is realized that the reality theory is the only way forward to understand contemporary art. Reality theory offer an example of the manner in which theories make art appear a reality. Credit is given to the Reality Theory for enabling acceptance of the postmodernism movement in painting. The implication of the institutional view of art is that an artwork can easily be mistaken as being the actual object. This in fact forms the main concern of Danto. In explaining the tendency of confusing artwork as actual object, the proponent utilized the ‘“Is” of artistic identification’ (Cohen, 1973, pg 60). The statement means that an object can be identified in comparison with an actual object lets say “a is b”. For an object or painting to be considered an artwork therefore, it has to be subject to such a statement. Danto in explaining the ‘is’ of artistic identification, the incidences entirely appeared to be a representation of the actual object. Art has to reflect what is real in the human life activities. The Implication of “Art Is That Which Is Produced By the Artists” In art and architecture, artists usually produce what affects them directly as well as the larger society. They therefore produce the environmental effects of the society from which they come from. Art cannot be borrowed from one individual artist to another since these people are affected by different social and political backgrounds (Dickie, 1969, pg 78). As a result, the period in which an artist exists what will make him or her to produce a particular kind of art. Historically, we have had different people proposing movements based on their individual views. This eventually leads to the kind of art produced. It is therefore true that art is that which is produced by the artist. Ideas vary from person to person and hence the art work produced as well varies. Looking at some of the art works done so far, there is evidence that styles can be borrowed particularly in architectural designs from ancient times to the present. However, the structures remain as uniquely as possible. An example here is the construction of the Colosseum. The Colosseum is perhaps the most outstanding building ever built by the ancient Romans. Built by Emperor Vespasian from 72 C.E. TO 80 C.E. the structure is situated at the centre of Rome. Unfortunately, Vespasian died a year to the completion of the building (Davies, 1991, pg 29). The building, which had a capacity of about 55, 000 people, measures 188m long, 156m wide, and 48m high. Because of its capacity, all its 80 entrances would be used during the many public functions it hosted. The structural size and grandeur in addition to its realistic and effective organization to provide fantastic view as well as serving large numbers of people give the structure its state of being the greatest statue ever constructed by Roman architects. Below its four stories were cages and devices used to hold wild animals such as lions and tigers. At the outer level of the structure, there are arcades that connect every side and stairway between the columns. In the construction of the Colosseum, the Roman designers borrowed so much from the ancient Greek architecture. However, a slight difference came in particularly based on the purpose of the building. The style adopted for the structure as well was of classical Greek. The adoption of such elements by the Romans in the construction of their structures brings us to the knowledge that they valued so much social functions in the particular buildings. This was also attributed to the high population in the region that forced the Colosseum construction to take on such a style so that more people could be accommodated for religious as well as recreational purposes (Binkley, 1977, pg 102). Since this structure was set for public utility, discoveries had to be made to improve on the ancient Greek architectural design especially through the use of vaults and arches. The architects had to employ a rich variety of building materials so that diverse sections paid credence to the function of the area. It is also clear from research that the Colosseum was constructed in an important town and therefore was capable of serving wide range of individuals. The Relevance of the Ideas Emerging From the Conceptual Art Movement in 1960s and 1970s The 1960s and 1970s art are the most influential times of movement in human life. This period involved designs that were more visual oriented as opposed to the initial kind of art. Examples of such art activities include the hard-edge painting of the 1960s. The art was influenced by colour as well as the post painterly abstraction. This was the time when the conceptual movement was emphasized in bringing up different images by artists of the time. The hard-edge painting emphasized on canvas as an area of abstraction form in which expressionism took the entire field of art through colour. The Conceptual Art Movement Photo The conceptual art movement is a type of contemporary art that in the first place considers notions found in visual means. In this kind of movement, artists believe that art is made by the viewers and not the artist himself or the artwork. Artists made images more attractive through abstraction and colour. This is evident in the photo above adapted from the Austin Museum of Art. The conceptual art movement has emerged as an international contemporary art movement in the same era as the Pop-Art movement. This art is mostly referred to as art which delivers an idea or fact in a way which that requires not to utilize of indicate a tradition object. This was a rebellious kind of art movement which come into being parallel to modernism as it attempted to question some of the objectives of the modernism art (Cohen, 1973, pg 63). The conceptual art movement is one of the areas that have influenced architectural designs of the modern society. From research done, it is evident that modernism movement put more emphasis on pictorials structures as a way of running away from a divergent academic convention (Carroll, 1994, pg 87). However, the 1960s to 1970s conceptual art is known to be an art of ideas which could not just make objects but also created documents. It had a number of premises that contravened the conventions of earlier art movements which only based principles on making objects out of aesthetics. Strategies of the conceptual art movement came into being and are now utilized by most of artists to reflect human life and existence. In architectural designs that emerged during the conceptual art movement, buildings were not only meant to meet the aesthetics of the architect but reflect social cultural dispositions of the larger community. Just like the Pop Art of the time, concrete expressionism as well as minimalism associated with it, conceptual art movement has a historical background of the avant-garde activities which came to being in the aftermath of wars (Cohen, 1973, pg 67). This makes it influence today in the visual art being created. This movement is particularly pertinent since it raised imperative concerns of artistic modernism. On the other hand, it addresses the wider social and political flaws that had emerged during the period immediately after the war. At this time, feminist and Marxism had set in. As a result, the conceptual art movement was set to admonish possibilities of evil deeds after the war. Because of the conceptual art movement, structures in architecture were built to serve both social and political functions in the society. This made architecture more real as opposed to other notions of modernism. The conceptual art movement challenged the then existing forms for making, distributing and perceiving art. According to this movement, the earlier importance put on art structures was misplaced and resulted into a static as well as discriminatory art world. This implies that only the few privileged individual could get access to the art objects of that time. Following thing perceptions, earlier movements in art put emphasis instead of artists’ mental processes and means of production as the significance of work (Carroll, 1994, pg 90). Even though the conceptual art came to be known in early 1960s, its inception profoundly took place in later years of the same decade. It is not possible to establish the importance of this movement unless perceived in terms of artists that contributed to the movement. This movement therefore emerged with works like those from Joseph Kosuth’s series “Art as Idea as Idea”, art proposed for exhibition “Air Show Air/Conditioning” in 1966 by Terry Atkinson (Beardsley, 1976, pg 70). There were as well as paintings by John Baldessari’s which were shown in 1968 among other works of art. The conceptual art movement therefore encompassed a huge variety of art forms like performances, progression and land art. Such works later on were linked to the concept that the idea was overriding attribute of significance within the work of art itself. The most important ideas of the conceptual movement hence were that work takes the first place before beauty and material consideration (Beardsley, 1976, pg 72). This means that art had to be done according to the needs of the human community and therefore more inclined to functional activities of the art work rather than aesthetics. In addition, the steps through which an artist involves to reach the final work of art are important in making the viewers understand the work. Viewers should therefore be taken as first priorities in interpretation of the art work. References: Beardsley, M. C. 1976. Is Art Essentially Institutional? In Lars Aagaard-Mogensen, ed., Culture and Art. Atlantic Highlands, NJ: Humanities Press. Binkley, T. 1977. Piece: Contra Aesthetics. “The Journal of Aesthetics and Art Criticism” 35: 265–277. Carroll, N. 1994. The Historical Definition of Art. In Robert Yanal, ed., Institutions Of Art. State College: Pennsylvania State University Press. Cohen, T. 1973. The Possibility of Art: Remarks on a Proposal by Dickie. “Philosophical Review” 82: 69–82. Danto, A. 1964. The Artworld. “Journal of Philosophy” 61: 571–584. Davies, S. 1991. Definitions of Art. Ithaca: Cornell University Press. Dickie, G. 1969. Defining Art. “American Philosophical Quarterly” 6: 253–256. Diffey, T. J. 1969. The Republic of Art. “British Journal of Aesthetics” 19: 145–156. Eaton, M. 1983. Art and Nonart. East Brunswick: Associated University Presses, Inc. Gamwell, L. 2002. Exploring the Invisible: Art, Science, and the Spiritual. Princeton: Princeton University Press. Kandinsky, W. 2006. Concerning the Spiritual in Art. London: Tate Publishing. Miller, A.I. 1996. Insights of Genius: Imagery and Creativity in Science and Art. Cambridge, Massachusetts: MIT Press. Weitz, M. 1956. The Role of Theory in Aesthetics. “The Journal of Aesthetics and Art Criticism” 14: 27–35. Wollheim, R. 1987. Painting as an Art. Princeton: Princeton University Press for the Bollingen Foundation. Read More

However, they point out that art is pertinent to human life since it affects them socially, economically as well as politically. This possibly is the only strength associated with these scholars’ book on architecture and art. It has an implication that if art and architecture are related, then architecture forms every aspect of human life. From the perspectives so far taken by scholars on the relationship between art and architecture, it can be noted that architecture is not just a theory but encompasses more of practical work.

Fieldwork is hence imperative in the journey to define what makes architecture (Binkley, 1977, pg 101). On the other hand, architecture can be taken in terms of hardware and software. The architecture of a system implies its outward appearance. According to the computer perspective, architecture can be taken as being open or closed (Weitz, 1956, pg 61). An open architecture gives room for the devices that make up the system to be compatible to programs. A closed system however is that which the design is proprietary making it hard to link to other programs within the same system.

As much as some researchers have pointed out that architecture recreates reality, this may not yet be true since architecture creates structures for human habitation. This indicates that values held by man in the wider field of architecture. Most importantly, architecture can therefore be understood as basically entailed with making room for human existence. It focuses primarily on the utilitarian side of man to the creations he attempts to bring on the face of the earth. Architecture therefore involves architects in the creation of space for man just like art is revealed through artist’s work.

Nevertheless, the perception that architecture is not art can only be embraced when architectural designs are taken from a narrow perspective of fashion. The ultimate definition of architecture can therefore be said as being a selective re-creation of reality based on specific values made by the architect (Danto, 1964, pg 217). Based on what most researchers in the field have pointed out as a definition of architecture, I can integrate all this in simple words as architecture being what human beings engage in.

This implies that art and architecture affects the society in everyday life. Art and architecture come from all activities that make human life better from construction to computer software. The Architectural Implications of the Institutional View of Art The institutional view of art is well brought out by Arthur Danto in his work, “The Artworld”. In this work, there are a wide range of implications and view brought out by the author (Kandinsky, 2006, pg 183). He attempts to unveil Warhol’s Brillo boxes paradox.

In the first place of his view on art and architecture, he suggests a view of transformation in theories of art. He says that such transformations should be done in line with the change of scientific theory. This brings us back to the perception that architecture is a science of structures. According to him, in order to invent an entirely novel collection of artworks, there should be discovery of a set of novel ideas. Just like science carries out its discovery of new facts, art should get new ideas through conservative extension of already available theories (Miller, 1996, pg 75).

The theory chosen depends on whether it tries to explain the phenomena as amicably as possible or not. The new discoveries in theory have to give an explanation of the available activities and at the same time take into consideration new events in the art world. There is therefore need to develop a new theory that incorporates both old and novel artworks as well as the newly invented ones. The implication of the institutional view of art points to the acceptance of postimpressionism painting.

During this era, older artworks were taken as imitating reality (Gamwell, 2002, pg 59). However, postmodernism failed to accomplish the imitation theory since there was no sufficiency in its mimetic level.

Read More