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英文
前のを読んでない方は1番からご覧下さい
2nd part, the 3rd will be the conclusion and bibliography.
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What is the value seen in the arts?
Bourdieu states that the “differentiation of taste is intimately connected with social and cultural relations of power”. (36 Wolff) There is a definition of beauty created as a universal by the dominant groups to retain their position of power and improve their status. One of Bourdiau’s points of discussion involves the need for sufficient training or contact with art during childhood, to fully enjoy the arts. Even with personal experience my friends and myself who have been going to museums with their parents (sometimes forced more than willingly) enjoy art more than my friends who had not gone (or as much) during their childhood. (86 Wolff)
The concept of the universal value of art is only a deception for Bourdieu. This can be seen when different art forms from various cultures are displayed together. “A Greek Aphrodite, a Byzantine Madonna and a savage idol from New Guinea or the Ivory Coast cannot all belong to the classical concept of beauty. The last one at least, if the words are to have any precise meaning, we must confess to be unbeautiful, or ugly”. (23 Read ,Meaning of Art) In the same context, if there were a group of men uneducated in terms of art who go to a “Gallery of Nude Art”, they will not enjoy it, finding no implication of eroticism. The reactions of these men will be the exact thing Bourdieu will assume to happen.
Although art’s value is surely not universal, if defined in the terms of always apparent, if everyone in a certain culture is educated, an artificially universal value can be created, but may also destroy the concept of art.
How artists perceive themselves
Challenged by Bourdieu, Marxists, and people without a “taste for art” on the value of art, it is interesting to see how artists conceive themselves. A research done by Bertasio and Marchetti surveyed 238 artists who “engaged in the pursuit of personal gratification and social visibility within the network of relations with other actors which, in turn, are pursuing their own professional success”. (www.uniurb.it) The questionnaire represented that many artists confirmed the importance of their activity. 77.3% believed the artist anticipates aesthetic tendencies and fashions, and 63.4% believed that art influences public taste. 63% of the sample said, “the artist is a creative person, whose artistic creativity differs from any kind of creativity”, such as scientific or business creativity. (www.uniurb.it) At the same time many felt the lack of autonomy and state of dependence artist had on other players in the artistic field, such as critics and art gallery managers.
This dependence on critics and to a lesser sense the buyers of their art is very much seen in historical context. Many artists even when they have an established name as a great artist in their time can be regarded as unreliable or avant-garde after creating one work out of the normal expectations and classical thoughts of art, destroying their career from then on.
Bertasio and Marchetti also took a survey of the art critics, as another major player of the art community. The research showed the low level of self-esteem nearly half of the critics had felt. This was inversely related to the age of the critics where people over 56 had a significantly higher level of self esteem compared to the younger ones. The critics with high self-esteem also had a less uncertainty in their expression on what role a critic should play in the art community and the larger society. Many have found how much autonomy the critics have over the works of the artists, and the meanings and importance is created more by the critics in some cases. “For a critic, interpreting a contemporary work of art is not only explaining it, but also executing it, as it is said of a piece of music”, and becomes an artist themselves. (www.uniurb.it)
This research has shown how many players are involved within the art community, even before the works of art are delivered to the public. Each part after the work is created has the potential for its meaning to be skewed or created, where the original artist may no longer have the autonomy to change the meaning, even if it may not been intended when produced, because it has gone higher in the hierarchy of the art community, or has become a belief possessed by larger society.
Bourdieu had divided the reasons for art in three parts art for economic gain, art for social gain, and art for the sake of art. The art for social gain is achieved by acceptance of works by academics or bourgeois, which creates the dependence in the authorities, and the art for economic gains will create dependence on the buyers of the work. Only art liberated from any dependence on other factors will be able to keep the form created by the artist. The low self esteem of artists and uncertainty of critics in inevitable because they are all interrelated to create the arts delivered to the public. Only by all the factors together can art have any meaning in the modern world. As Snow and Anderson had shown in their research that the homeless create identities to cope with their role, many artists want to be accepted by the authorities (leading to acceptance in society) to have confidence in their role. Economic gains are needed to a certain point for every artist creating a dependence on the buyers. Each of these factors will only distance the true role as an artist in its pure form. If there was an artist just working on his interests and message, most likely he will not be noticed by society. This dilemma is far greater in the artist than any other profession, because the conceived sense of uniqueness in the players of art is far greater than many other occupations, especially in the modern world with many choices of work.
There is a sense of uniqueness and transcendence perceived by many artists and the community. Bourdiau stated that for this belief of transcendence, artists believe the values perceived in the works of art cannot be simply deduced scientifically in sociological terms, has created the hardships of sociological study in art.
前のを読んでない方は1番からご覧下さい
2nd part, the 3rd will be the conclusion and bibliography.
---
What is the value seen in the arts?
Bourdieu states that the “differentiation of taste is intimately connected with social and cultural relations of power”. (36 Wolff) There is a definition of beauty created as a universal by the dominant groups to retain their position of power and improve their status. One of Bourdiau’s points of discussion involves the need for sufficient training or contact with art during childhood, to fully enjoy the arts. Even with personal experience my friends and myself who have been going to museums with their parents (sometimes forced more than willingly) enjoy art more than my friends who had not gone (or as much) during their childhood. (86 Wolff)
The concept of the universal value of art is only a deception for Bourdieu. This can be seen when different art forms from various cultures are displayed together. “A Greek Aphrodite, a Byzantine Madonna and a savage idol from New Guinea or the Ivory Coast cannot all belong to the classical concept of beauty. The last one at least, if the words are to have any precise meaning, we must confess to be unbeautiful, or ugly”. (23 Read ,Meaning of Art) In the same context, if there were a group of men uneducated in terms of art who go to a “Gallery of Nude Art”, they will not enjoy it, finding no implication of eroticism. The reactions of these men will be the exact thing Bourdieu will assume to happen.
Although art’s value is surely not universal, if defined in the terms of always apparent, if everyone in a certain culture is educated, an artificially universal value can be created, but may also destroy the concept of art.
How artists perceive themselves
Challenged by Bourdieu, Marxists, and people without a “taste for art” on the value of art, it is interesting to see how artists conceive themselves. A research done by Bertasio and Marchetti surveyed 238 artists who “engaged in the pursuit of personal gratification and social visibility within the network of relations with other actors which, in turn, are pursuing their own professional success”. (www.uniurb.it) The questionnaire represented that many artists confirmed the importance of their activity. 77.3% believed the artist anticipates aesthetic tendencies and fashions, and 63.4% believed that art influences public taste. 63% of the sample said, “the artist is a creative person, whose artistic creativity differs from any kind of creativity”, such as scientific or business creativity. (www.uniurb.it) At the same time many felt the lack of autonomy and state of dependence artist had on other players in the artistic field, such as critics and art gallery managers.
This dependence on critics and to a lesser sense the buyers of their art is very much seen in historical context. Many artists even when they have an established name as a great artist in their time can be regarded as unreliable or avant-garde after creating one work out of the normal expectations and classical thoughts of art, destroying their career from then on.
Bertasio and Marchetti also took a survey of the art critics, as another major player of the art community. The research showed the low level of self-esteem nearly half of the critics had felt. This was inversely related to the age of the critics where people over 56 had a significantly higher level of self esteem compared to the younger ones. The critics with high self-esteem also had a less uncertainty in their expression on what role a critic should play in the art community and the larger society. Many have found how much autonomy the critics have over the works of the artists, and the meanings and importance is created more by the critics in some cases. “For a critic, interpreting a contemporary work of art is not only explaining it, but also executing it, as it is said of a piece of music”, and becomes an artist themselves. (www.uniurb.it)
This research has shown how many players are involved within the art community, even before the works of art are delivered to the public. Each part after the work is created has the potential for its meaning to be skewed or created, where the original artist may no longer have the autonomy to change the meaning, even if it may not been intended when produced, because it has gone higher in the hierarchy of the art community, or has become a belief possessed by larger society.
Bourdieu had divided the reasons for art in three parts art for economic gain, art for social gain, and art for the sake of art. The art for social gain is achieved by acceptance of works by academics or bourgeois, which creates the dependence in the authorities, and the art for economic gains will create dependence on the buyers of the work. Only art liberated from any dependence on other factors will be able to keep the form created by the artist. The low self esteem of artists and uncertainty of critics in inevitable because they are all interrelated to create the arts delivered to the public. Only by all the factors together can art have any meaning in the modern world. As Snow and Anderson had shown in their research that the homeless create identities to cope with their role, many artists want to be accepted by the authorities (leading to acceptance in society) to have confidence in their role. Economic gains are needed to a certain point for every artist creating a dependence on the buyers. Each of these factors will only distance the true role as an artist in its pure form. If there was an artist just working on his interests and message, most likely he will not be noticed by society. This dilemma is far greater in the artist than any other profession, because the conceived sense of uniqueness in the players of art is far greater than many other occupations, especially in the modern world with many choices of work.
There is a sense of uniqueness and transcendence perceived by many artists and the community. Bourdiau stated that for this belief of transcendence, artists believe the values perceived in the works of art cannot be simply deduced scientifically in sociological terms, has created the hardships of sociological study in art.
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