Classificatory disputes about art

Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today.

Definitions of art

Defining art can be difficult. Aestheticians and art philosophers often engage in disputes about how to define art. By its original and broadest definition, ''art'' (from the Latin ''ars'', meaning "skill" or "craft") is the product or process of the effective application of a body of knowledge, most often using a set of skills; this meaning is preserved in such phrases as "liberal arts" and "martial arts". However, in the modern use of the word, which rose to prominence after 1750, “art” is commonly understood to be skill used to produce an aesthetic result (Hatcher, 1999).

'' Britannica Online'' defines it as "the use of skill or imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others". But how best to define the term “art” today is a subject of much contention; many books and journal articles have been published arguing over even the basics of what we mean by the term “art” (Davies, 1991 and Carroll, 2000). Theodor Adorno claimed in 1969 “It is self-evident that nothing concerning art is self-evident any more.” It is not clear who has the right to define art. Artists, philosophers, anthropologists, and psychologists all use the notion of art in their respective fields, and give it operational definitions that are not very similar to each other's.

The second, more narrow, more recent sense of the word “art” is roughly as an abbreviation for ''creative art'' or “fine art.” Here we mean that skill is being used to express the artist’s creativity, or to engage the audience’s aesthetic sensibilities. Often, if the skill is being used to create objects with a practical use, rather than paintings or sculpture with no practical function other than as an artwork, it will be considered it as falling under classifications such as the decorative arts, applied art and craft rather than fine art. Likewise, if the skill is being used in a commercial or industrial way, it will be considered design instead of art. Some thinkers 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). The modern distinction does not work well for older periods, such as medieval art, where the most highly regarded art media at the time were often metalwork, engraved gems, textiles and other "applied arts", and the perceived value of artworks often reflected the cost of the materials and sheer amount of time spent creating the work at least as much as the creative input of the artist.

Schemes of classification of arts

Historical schemes

In the Zhou dynasty of ancient China, excellence in the ''liù yì'' (六藝), or " Six Arts", was expected of the ''junzi'' (君子), or "perfect gentleman", as defined by philosophers like Confucius. Because these arts spanned both the civil and military aspects of life, excelling in all six required a scholar to be very well-rounded and polymathic. The Six Arts were as follows:

* Rites (禮)
* Music (樂)
* Archery (射)
* Charioteering and equestrianism (御)
* Calligraphy (書)
* Mathematics (數)

Later in the history of imperial China, the Six Arts were pared down, creating a similar system of four arts for the scholar-official caste to learn and follow:

* '' Qín'' (琴), an instrument representing music
* '' Qí'' (棋), a board game representing military strategy
* ''Shū'' (書), or Chinese calligraphy, representing literacy
* ''Huà'' (畫), or Chinese painting, representing the visual arts

Another attempt to systematically define art as a grouping of disciplines in antiquity is represented by the ancient Greek Muses. Each of the standard nine Muses symbolized and embodied one of nine branches of what the Greeks called ''techne'', a term which roughly means "art" but has also been translated as "craft" or "craftsmanship", and the definition of the word also included more scientific disciplines. These nine traditional branches were:
* Epic poetry, embodied by Calliope
* History, embodied by Clio
* Music and lyric poetry, embodied by Euterpe
* Love poetry, embodied by Erato
* Tragedy, embodied by Melpomene
* Hymns and pantomime, embodied by Polyhymnia
* Dance and chorus, embodied by Terpsichore
* Comedy and idyllic poetry, embodied by Thalia
* Astronomy, embodied by Urania

In medieval Christian Europe, universities taught a standard set of seven liberal arts, defined by early medieval philosophers such as Boethius and Alcuin of York and as such centered around philosophy. The definitions of these subjects and their practice was heavily based on the educational system of Greece and Rome. These seven arts were themselves split into two categories:
* the Trivium, considered the foundation of knowledge, and comprising the three basic elements of philosophy: grammar, logic, and rhetoric;
* and the Quadrivium, comprising music, arithmetic, geometry and astronomy.

At this time, and continuing after the Renaissance, the word "art" in English and its cognates in other languages had not yet attained their modern meaning. One of the first philosophers to discuss art in the framework we understand today was Georg Wilhelm Friedrich Hegel, who described in his '' Lectures on Aesthetics'' a ranking of the five major arts from most material to most expressive:
#architecture
#sculpture
#painting
#music
#poetry

Hegel's listing of the arts caught on particularly in France, and with continual modifications the list has remained relevant and a subject of debate in French culture into the 21st century. This classification was popularized by Ricciotto Canudo, an early scholar of film who wrote "Manifesto of the Seventh Art" in 1923. The epithets given to each discipline by its placement of the list are often used to refer to them through paraphrase, particularly with calling film "the seventh art". The French Ministry of Culture often participates in the decision making for defining a "new" art. The ten arts are generally given as follows:
# architecture
# sculpture
# painting
# music
# literature, including poetry and prose
# the performing arts, including dance and theatre
# film and cinema
# "les arts médiatiques",'' including radio, television, and photography
# comics
# video games, or digital art forms more generally

The ongoing dispute over what should constitute the next form of art has been fought for over a century. Currently, there are a variety of contenders for ''le onzième art'', many of which are older disciplines whose practitioners feel that their medium is underappreciated as art. One particularly popular contender for the 11th is multimedia, which is intended to bring together the ten arts just as Canudo argued that cinema was the culmination of the first six arts. Performance art, as separate from the performing arts, has been called ''le douzième'', or "twelfth", art.

Generalized definitions of art

The traditional Western classifications since the Renaissance have been variants of the hierarchy of genres based on the degree to which the work displays the imaginative input of the artist, using artistic theory that goes back to the ancient world. Such thinking received something of a boost with the aesthetics of Romanticism. A similar theoretical framework applied in traditional Chinese art; for example in both the Western and Far Eastern traditions of landscape painting (see literati painting), ''imaginary'' landscapes were accorded a higher status than realistic depictions of an actual landscape view - in the West relegated to "topographical views".

Many have argued that it is a mistake to even try to define art or beauty, that they have no essence, and so can have no definition. Often, it is said that art is a cluster of related concepts rather than a single concept. Examples of this approach include Morris Weitz and Berys Gaut. Drawing on Ludwig Wittgenstein, Weitz argued that art is an "open concept" whose constituents and criteria for inclusion could change over time; he also sought to distinguish purely "descriptive" from "evaluative" uses of the term art.

Another approach is to say that “art” is basically a sociological category, that whatever art schools and museums, and artists get away with is considered art regardless of formal definitions. This institutional theory of art has been championed by George Dickie. Most people did not consider a store-bought urinal or a sculptural depiction of a Brillo Box to be art until Marcel Duchamp and Andy Warhol (respectively) placed them in the context of art (i.e., the art gallery), which then provided the association of these objects with the values that define art.

Proceduralists often suggest that it is the process by which a work of art is created or viewed that makes it, art, not any inherent feature of an object, or how well received it is by the institutions of the art world after its introduction to society at large. For John Dewey, for instance, if the writer intended a piece to be a poem, it is one whether other poets acknowledge it or not. Whereas if exactly the same set of words was written by a journalist, intending them as shorthand notes to help him write a longer article later, these would not be a poem.

Leo Tolstoy in his seminal text ''What is Art?'', on the other hand, claims that what makes something art or not is how it is experienced by its audience, not by the intention of its creator. Functionalists, like Monroe Beardsley argue that whether a piece counts as art depends on what function it plays in a particular context. For instance, the same Greek vase may play a non-artistic function in one context (carrying wine), and an artistic function in another context (helping us to appreciate the beauty of the human figure).

Disputes about classifying art

Philosopher David Novitz has argued that disagreements about the definition of art are rarely the heart of the problem, rather that “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.

On the other hand, Thierry de Duve argues that disputes about the definition of art are a necessary consequence of Marcel Duchamp's presentation of a readymade as a work of art. In his 1996 book ''Kant After Duchamp'' he reinterprets Kant's ''Critique of Judgement'' exchanging the phrase "this is beautiful" with "this is art", using Kantian aesthetics to address post-Duchampian art.

Conceptual art

The work of the French artist Marcel Duchamp from the 1910s and 1920s paved the way for the conceptualists, providing them with examples of prototypically conceptual works (the readymades, for instance) that defied previous categorisations. Conceptual art emerged as a movement during the 1960s. The first wave of the "conceptual art" movement extended from approximately 1967 to 1978. Early "concept" artists like Henry Flynt, Robert Morris and Ray Johnson influenced the later, widely accepted movement of conceptual artists like Dan Graham, Hans Haacke, and Douglas Huebler.

More recently, the “Young British Artists” (YBAs), led by Damien Hirst, came to prominence in the 1990s and their work is seen as conceptual, even though it relies very heavily on the art object to make its impact. The term is used in relation to them on the basis that the object is not the artwork, or is often a found object, which has not needed artistic skill in its production. Tracey Emin is seen as a leading YBA and a conceptual artist, even though she has denied that she is and has emphasised personal emotional expression.

Recent examples of disputed conceptual art

=1991

=
Charles Saatchi funds Damien Hirst. The following year, the Saatchi Gallery exhibits Hirst's '' The Physical Impossibility of Death in the Mind of Someone Living'', a shark in formaldehyde in a vitrine.

=1993

=
Vanessa Beecroft holds a performance in Milan, Italy. Here, young girls act as a second audience to the display of her diary of food.

=1999

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Tracey Emin is nominated for the Turner Prize. ''My Bed'' consisted of her disheveled bed, surrounded by detritus such as condoms, blood-stained knickers, bottles and her bedroom slippers.

=2001

=
Martin Creed wins the Turner Prize for accurately titled '' The Lights Going On and Off'', in which lights turned on and off in an otherwise empty room.

=2002

=
Miltos Manetas confronts the Whitney Biennial with his Whitneybiennial.com.

=2005

=
Simon Starling wins the Turner Prize for ''Shedboatshed''. Starling presented a wooden shed which he had converted into a boat, floated down the Rhine, then remade into a shed.

Controversy in the UK

The Stuckist

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