The Concept of Fine Arts - Case Study Example

# Defining the Philosophy of Change in Visual Arts Text: “Toward a Metaphysics of Shit” Pathway Unit March 08, 2010 Introduction The concept of fine arts for several is not only related to expression of the visual, but also toward the idea of philosophies, such as bringing change. Not only is art regarded as one that is able to be a component of change, but also does this by de-familiarizing the common place with new expressions and art forms. This philosophy of art, according to Jean Fisher in the article “Toward a Metaphysics of Shit,” is one that demands the idea of change; however, this is one that the author regards as an illusion that artists attach themselves to. Specifically, Fisher does not regard art as one that works with the intent of the artist as well as the reaction from the viewer. Not understanding how this specific gap works, as well as the reactions that it may cause and the changes it can bring makes the idea of change that is represented within art ineffective. Analysis of Fisher The concepts that Fisher presents are written in a way to show the artist that the idea of representing change and to bring the unfamiliar to the familiar are shown in several ways. This is first presented by the tone that Fisher creates. This is used to create a psychoanalytic development of the essay, specifically so readers can agree with the perspective of Fisher. The beginning of the essay is one that is academic in nature and which presents various ideas about artists and whether they can successfully communicate. During this section, Fisher brings in a tone that shows the definitions and the different concepts of the idea of art. This begins to shift when Fisher introduces the idea of the trickster or the third man. This switches from the intellectual tone into one that is joking and similar to that of one that does things in jest. The major change in tone is introduced with the story of the monkey who dives after his own reflection. After this point, the essay turns into one that makes a statement that those which believe in the idea and philosophies of change in their art are also doing so as the trickster. The second way in which Fisher shows that the idea of change is one that is in jest is through the phrases used to introduce the idea of change and its ineffectiveness. Specifically, Fisher changes the philosophies of what change in art means to a presentation of what the artist wants the visual art to represent. She states, “If our understanding of the world is largely through mediated representations and ideologies, then the first criterion of a tricky artistic practice is the acknowledgement that we operate in a world not of self – evident ‘truths’ but of institutional fictions revealed as grotesque monsters, where art is not a reflection of an authentic ‘reality’ but a simulation that intensifies our experiences and interpretations of its effects” (Fisher, 69).1 This becomes the main point of Fisher, in which she states that the philosophies artists rely on are one that is based on illusion and perception. The idea of change, then, is one that is a part of the imagination and which doesn’t represent the main concepts of art work. The arguments that Fisher represents, while strong in their basis, do not prove true when defining art. Fisher shows several ideologies and philosophies in relation to the intent of art and the artist. However, there is no evidence of whether the art work represented does bring change. The intent of the artist, the reaction from the viewers and the changes that may occur in society all play a part in the way that visual art is able to affect others. Fisher does not regard movements that have happened in art and doesn’t provide evidence that the imagination of change of the artist is untrue. In this sense, the idea of illusion, as defined by Fisher, is one that doesn’t hold a strong definition. Visual Arts and Society One of the defining points of the visual arts, specifically in relating to change, is based on the reactions that viewers have when looking at art mediums. Understanding the viewers and the reactions that happen at a popular, as well as marginal level, are both important when identifying the proponents of change in visual arts. It can be assumed that the artist displaying the work is known as the narrator. The main objective of the narrator is to assume a goal and to communicate this message to the viewer. The second part of this is the goal, which is the message communicated. This leads to the actor, or participant, who moves through a process of interpreting and understanding the work given (Kress, et al, 2006, 64).2 This basic process of communication from the visual artist to those looking at the work is one that then creates specific reactions. While the proponents of change or moving an image out of common place may not happen drastically at first, the communication of the message eventually moves to the actor with a different understanding which can lead to small changes within society. The idea of this communication is one that is then able to manipulate and change the way that one thinks while conveying a specific message about a given subject. This alone is one that can lead to change within society (Barry, 1997, 207).3 Fisher does not consider the reactions and the process of communication through the arts, which can begin to change the way in which individuals look and think at art. The concept of art and society, as well as the reactions that occur is then furthered by the way in which art can begin to shift different paradigms. The reactions that viewers have leads to movements and historical changes that are noted in history. The art and history combine to create different affects and reactions from those in society. For instance, the newer and contemporary works of many artists is moving toward a new age feel that is more experimental. One reaction to this is based on the concept of the idea of the arts community separating from the concept of art and the expressions it brings. However, the other side of this shows direct reactions from society, specifically with government interference with the expressions taking place. This includes prohibition of ‘obscene art’ from contemporary artists because of the effect that it has on individuals. This shows that, while there is a clash from the government to artists, there is also a demand and specific reaction from the art that is created. The effects that this has on society can be seen through the reactions and the philosophies that are carried toward the artist expressions currently being explored (Weinstock, 1992, 125).4 This is an example of how art becomes a proponent of change and controversy. The reactions toward society as well as what is occurring within art are stated as imaginary by Fisher specifically because of the inability to communicate what is occurring. Fisher relates this to one only seeing their reflection when producing art, which does not allow a message to be communicated. However, others show that this is a reaction by society when referring to the ideas of art and the misinterpretations that occur. Some state that the societal and cultural reaction is based on the lack of education and understanding of the arts. The disconnections that continue to occur within this field further show disregard for the artist statements. “Existing misconceptions about the intellectual status of learning in visual arts means that scholarly, cultural and social significance of art is grossly undervalued….When seen as a desirable experience in the liberal arts, the teaching of the visual arts rests on the capacity of an expert cultural tourist to enliven and enlighten students about art” (Sullivan, 2005, 72).5 This shows that the problem with philosophies toward change in the visual arts is not necessarily because of the imagination of the artist. Instead, it is based on the reception, education and understanding of the students who study art. This gap is one that creates the different perspectives toward the idea of change as well as the way in which it can or should be received. Defining the different ideals between visual arts and society then holds more levels than Fisher explores. Specifically, the idea of education and how one perceives ideas is one that is not approached by Fisher. More than this, the changing roles in society as well as the way in which one views different concepts is one that is often seen with the visual arts and viewers. Exploring the way that viewers are able to see artwork as well as how they are react is one of the levels that create a change with the idea of the fine arts. Expression, communication and identity through different forms of art, is one that is then said to reflect society. Even with the lack of education that is incorporated into schools, there is still a direct reflection of philosophies and ideals. When looking at proponents of change that artists have built, this same type of communication is revealed. This shows an identity in culture and the desire to change this specific identity. More than this, it expresses a universal message that can be used when relaying the idea of art in society (Freedman, 2003).6 The Role of the Artist in Philosophies of Change The different reactions that occur in society because of the philosophies of change then lead into different proponents of how the intent and expression of art creates different responses. This leads back into the Marxist theories of culture and the ideas of how every proponent of art and culture leads to a change in consciousness. This creates a second type of relationship from the artist to the viewer. This is one in which the relationship is based on the significance of the art as well as the cultural influences that occur through the art. When the idea of art is presented in society, it may not seem to directly reflect with proponents of change or direct changes through the expressions used. However, there may be subconscious changes that many begin to recognize or think about as a culture and society. Specifically, this viewpoint states that the cultural expressions in society, such as through the visual arts, begin to determine the conscious relationship toward ideas and what is occurring. This creates a superstructure of what it means to belong in a society, such as the relationship toward culture from individuals. For example, different pieces of architecture built for visual display create a superstructure of society which reflects individuals and their thought processes. Artists that begin to change this visual display then create a change in the consciousness of individuals through the new architecture used. As the superstructure changes, so do the thought patterns of those surrounding this art. This creates a proponent of change while using this specific structure (Mukerji et al, 1991, 408-410).7 The concepts of Fisher, which state that this can’t be true in the idea of change in society, is one that can easily be debated through these examples. The more in which artists contribute to culture and society, the more that individuals can begin to change the attitude and consciousness toward these ideas. The idea of art as a reflection of the consciousness, and as one that plays a role in the change of ideas is further represented with contemporary thought patterns and the way in which this has reflected in society. However, the idea of this working is one that is not only referred to with the subtle changes in society, but is also based on the intent and philosophies of the artist. If a visual artist has the intent to demonstrate change and patterns, then this will affect the reactions of those in which the individual is communicating to. This would then lead to a specific way in which artists could affect the local environment while creating a different presence surrounding not only the ideas of art, but also toward the reflections seen in society. “The goal was not to change society but to communicate social and aesthetic ideas to a local audience. Artworks in this environment tended to have a transitory existence (many deteriorated or demolished), reflecting their changing relevance for the local community” (Crane, 1989, 17).8 The movement toward change as a main philosophy then becomes important in communication and identifying what was occurring. While Fisher states that this is an illusion toward the main artist goals, the avant – garde movement in which this refers to provide a different set of insights. Having a transitory existence, building messages within the community and creating a specific relationship between the artist and spectator and to visualize led to smaller changes and ideals within the community. When looking at the idea of communication and the responsibility of artists, other ideas of how to show the perspective of change in artwork can also be looked into. When looking at the reference of Fisher, there is no idea of change and how it can relate to artist statements and what is occurring. Instead, this is all the imagination of the artist. However, other artists have stated that the influence and idea of change is one that comes from the intent of the painting or artwork as well as the value that is created with this. The value that is created is one that appears through the context of the artwork, all which creates value and a representation of the ideas of the artist. As this is communicated to the viewer from the artwork, it is able to present the same idea of interpretation of the value that is in the painting. Formalism, feminist art, the abstract and avant – garde movements all represent this same idea and meaning with the artist working toward finding a sense of value. These specific movements and the values that artists created within this can be said to have brought a change and reflected the concepts of society surrounding the artist works (Heywood, et al, 1999, 149)9. The value as well as the concept of representation is one that is disregarded by Fisher, specifically because of the question of what meaning is and what context creates. It is stated that the idea of meaning is one that is built on symbolism; however, those that are creating this value are uncertain of the subject and are often looking at the here and now of the art presented or being created. The representational forms, according to Fisher, then become a part of immediacy, rather than value (68-70). However, when looking at different themes and concepts of representation in visual art, the opposite idea can be seen. Rather than create a sense of immediacy, most artists concern themselves with a broader context of what something means in a given situation. At some points, this reflects the idea of culture and society. However, when moving into interpretations and understanding of this, there is deeper value and meaning of the representation of visual art. This links to humanistic perspectives, psychological perspectives and spiritual implications that imply different concepts of change. The experience of art, according to other theorists, is one that is united with the mind and the cognition that each individual holds. The artist’s determination of value is then one that communicates more than immediacy and representation (Solso, 1996, 27-32).10 Conclusion The concept of visual art as a proponent of change and philosophies that surround society is one that is complex and questioned through several theorists. According to Fisher, the idea of this philosophy is one that is imaginative and which does not create a shift in thinking from various individuals. However, when looking at the artist intent, as well as the relationship of art to society, one can see that the context and the implications of a piece of art allows for individuals to interpret a different understanding and relationship to the art. The movements that have occurred in art are then related to universal themes and meaning, the mind of society and the conscious development of individuals. References Barry, Ann Marie. (1997). Visual Intelligence: Perception, Image, and Manipulation in Visual Communication. New York: SUNY Press. Crane, Diana. (1989). The Transformation of the Avant – Garde: The New York Art World, 1940-1985. Chicago: University of Chicago Press. Fisher, Jean. (2002) ‘Toward a Metaphysics of Shit’, in Documenta 11_Platform 5: Exhibition Catalogue, pp. 63-70, ed. Documenta und Museum Fridericianum Veranstaltungs-GmbH, Kassel. Kassel: Hatje Cantz Publishers. Freedman, Kerry. (2003). Teaching Visual Culture: Curriculum, Aesthetics, and the Social Life of Art. New York: Teachers College Press. Heywood, Ian, Barry Sandywell. (1999). Interpreting Visual Culture: Explorations in the Hermeneutics of the Visual. New York: CRC Press, pg 149. Kress, Gunther, Theo Van Leeuwen. (2006). Reading Images: The Grammar of Visual Design. New York: Routledge, pg 64. Mukerji, Chandra, Michael Schudson. (1991). Rethinking Popular Culture: Contemporary Perspectives in Cultural Studies. California: University of California Press, pgs 408 – 410. Solso, Robert. (1996). Cognition and the Visual Arts. New York: The MIT Press. Sullivan, Graeme. (2005). Art Practice as Research: Inquiry in the Visual Arts. New York: Sage. Weinstock, Pamela. (1992). The National Endowment for the Arts Funding Controversy and the Miller Test: A Plea for the Reunification of Art and Society. BUL Rev. Read More