The Definition of Art (full version)
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Written by David Hamilton
There is confusion about what art is.
The qualities that make something art are intrinsic, not external. It is
the artifice, the organising of elements, perspective, choice of colour
etc, that make it art. The result is obtained by transforming reality
and thus nature through human imagination and emotion and is realised by
skill and technique.
The word Beauty (or beautiful) is descriptive if used as an adjective
to express the response of the beholder to an object, or if used within
a clear context; if used as an abstract noun it is universal, and
therefore meaningless.
A significant difference between
contemporary art and traditional art is the split between form and
meaning. This Cartesian duality is the split between mind and body,
subject and form. The split is in all the various forms and styles and
substance and meaning, of the respective art forms. In architecture
contemporary buildings look like objects they are not which is why they
are given comic nicknames - The Gerkhin, The Cheese Grater, or
Liverpool's Catholic Cathedral, The Mersey Funnel. The form is not
related to function - the interior of a modern cathedral could be
anywhere.
Traditional art develops within
traditional forms and it develops the forms. In his Christian paintings
of the fifties Dali adapted forms to his individual vision but they are
recognisably traditional forms. Dali was a genius - contemporary
artists are not. They need to shock to get recognition. Real Art grows
out of tradition and provides sustenance, spiritual or worldly, for
people rather than negative emotions like shock or offence that are
harmful.
To Marcel Duchamp it was enough for an
artist to deem something "art" and put it in an art venue. But it does
not matter where you stick a urinal it is always a urinal with a
specific non-artistic purpose. To say something becomes art because you
put it in a gallery is very muddled thinking. I had an experience in
the Ikon gallery in Birmingham where the only objects with artistic
qualities are the water closets and washroom taps which had pleasing
curves and smooth surfaces. But they are not art: they are objects for
specific non artistic purposes.
It is not the context of underpasses
that makes or unmakes street artist Banksy's work art or otherwise: it
does not have artistic subject matter and is just technique. Artistic
subject matter is realised through qualities of artifice and held
together by purpose which concentrates the artifice and technique to the
goal of producing art.
George Dickie and Arthur Danto held that
works of art are objects connected to various social practices. This
depends on beauty as some objects like the taps or a motor car can be
beautiful but because they have non-artistic functions are not art
whereas a painting is. To Dickie art is about being self-assigned but
you can put a car anywhere, it is always a car and its function is
different from a work of art even if it is beautifully designed. When
Artists begin to create they have a purpose and an artistic end in mind
and to bring this into being they use appropriate technique. They do
not take into account aerodynamics, say, or how fast water pours out or
precisely where its trajectory will take it as these are not part of the
artistic purpose. They are to engineers and designers of those
objects.
This is the institutional theory of art
which is a theory about the nature of art that holds that an object can
only be art in the context of "the artworld". Whatever an artworld is.
Danto wrote in: The Artworld: "To see something as art requires
something the eye cannot descry-an atmosphere of artistic theory, a
knowledge of the history of art: an art world." That has nothing to do
with the work itself but where it is. Art is practice not theory.
Nothing can make Duchamps "readymades"
art because they were made for a specific non-artistic purpose. Theory
does not change a pile of Brillo cartons in a supermarket into art, yet
Danto thought if it was put in a gallery a substantive transformation
took place. Andy Warhol's pretentious Brillo Boxes (a pile of Brillo
carton, replicas actually, so they are doubly pretentious) are a pile of
Brillo boxes wherever they are put.
Dickie's institutional theory can be
assessed from the definition in Aesthetics: An Introduction: "A work of
art in the classificatory sense is 1) an artifact 2) upon which some
person or persons acting on behalf of a certain social institution (the
artworld) has conferred the status of candidate for appreciation." On
the contrary, what makes something art is the intention of producing art
through artifice and technique successfully realised.
Tracey Emin and Damian Hirst have
declared works to be art because they say so. They were promoted and
financed by Saatchi who first declared their works art but he is not an
artist. It is critics and elite art buyers who decide what is art and
usually because of its commercial value but that is external to the
work, not intrinsic. They are right about the commercial value of
objects but not about its classification as art because designating
something as art because it has commercial value is to apply external or
non intrinsic criteria as the standard of judgement. Some people are
supposed to think they are Napoleon or royalty but does that make them
so?
This takes us back to Duchamps folly.
This argument is that because he placed it in a gallery it became art.
To say something like Damian Hirst's pickled shark is important is
pretentious. It is supposed to make us think but by taking the shark
out of context (the sea) it is rendered meaningless because it is
deprived of its being which is its life, and its function to swim and
hunt. It's habitat and how it lives in are essential not extraneous. A
graffito by Banksy is not, it is added to the environment not part of
it.
Picasso: "Art is not the application of a
canon of beauty but what the instinct and the brain can conceive beyond
any canon. When we love a woman we don't start measuring her limbs."
Well, he has dismissed proportion but that is only one part of the
whole.
Splodgeness Abounds
Commercial galleries need to appeal to a
buying public and be more popular than avante garde painters yet they
follow the fad of impressionistic landscapes that lose their meaning by
technique over imaginative vision: the scene is obscured by splodges of
paint! This obtrudes between the scene depicted and the viewer and
causes a disjuncture in the meaning. This is technique over intuition;
skill over the knack. By contrast the camera can elevate the knack over
technique as one makes an artistic judgement on what to photograph. It
gives a clear reproduction of the scene not splodgy brush strokes that
could be anything from a cloud or wave or a sunbeam to just a slip of
the brush. These smears festoon every commercial art gallery in the
country. This effect is demonstrated by comparing these with
photographs of the same scenes.
Public Art
Fills our ordinary lives with meaning and provides different feelings as they have different purposes.
Trying to shock people is petty and
there are many more responses. To shock is a means to the end of making
themselves rich because the elites reward these attacks on our Art. It
is as though they have a brief to undermine our artistic traditions.
They have minor imaginations which cause only one response whereas a
work by a major artist like Dali prompts several emotional responses.
A Liverpool pub, The Jacaranda, has a
mural in the downstairs bar which John Lennon had a hand in painting
when he was an art student, and this creates fascination and joy at the
thought of someone so famous being part of it. The painting is well
executed but not devoted to a high purpose, but conveys feelings because
we know who was involved.
The Peter Kavanagh, also in Liverpool,
has a delightful mural based on Dickens characters in the snug-bar. The
story is that an artist who was a regular customer in the 1930s could
not afford to pay for drinks on account, so he painted the mural. It
produces delight and merriment, adds to the pubs character and raises it
above the ordinary. ]
Statues are stylised and used to convey
various human qualities. Military heroes say, were shown in proud and
honourable poses that suggested authority, fortitude, steadfastness such
as Lord Nelson's famous column in Trafalgar Square. They were cast in
forms that conveyed meaning but contemporary public art fails in that
elementary intention as the meaning is disjunctured.
I spent a few days in Shrewsbury
recently. It has honoured its famous local Charles Darwin by "public
art". But does it succeed in its purpose? One known as Quantum Leap is
dissociated meaning as the form is not directly linked to the subject so
there is no representation. The title Quantum Leap actually refers to
something in physics not evolutionary biology which was Darwin's study.
It is probably the contemporary informal term for making a major leap
forward but applied to something celebrating Darwin confuses rather than
elucidates. These contemporary artefacts arouse no curiosity and one
does not feel inclined to enquire about them. They cannot be taken
seriously as there is no spirit of genius behind them; rather, a
commercial motive which are part of contemporary popular fashion and do
not gain gravity from tradition. Quantum Leap looks like an armadillo
crossed with a pack of cards and seems to be influenced by popular film
Jurassic Park rather than Darwin.
The Darwin Gate is three separate
structures which unite to create an apparently solid structure. What
does it mean? How does the form convey the meaning? The sculpture
apparently combines the form of a Saxon helmet with a Norman window
inspired by features of St Mary's Church which Darwin attended as a
boy. They claim that as darkness descends defused light shines through
the columns suggesting stained glass windows with the tops of the posts
resemble ecclesiastical arches. When it unites it resembles the shape of
a church window. However, there is no connection with Darwin and the
transmission of meaning to the public is split. It is called The
Eggbeater.
Even ordinary works can, if in
surprising places, prompt a myriad of responses. The Nags Head in
Shrewsbury, has an unusual and painting with an obscure origin. It has
an unusual context in being on the inside door of a cupboard in a room
above the pub. There is a strange atmosphere up there, where the
temperature can plummet in seconds. Some think the painting depicts
Neptune, others, the Devil. It is thought to be by a prisoner of war
during World War II but staff at the local Rowley's House Museum purvey
only a mystic tale but no accurate record. One told me it is of a woman
who committed suicide by jumping from an upstairs window. In this
legend it is said that the female figure will return if painted over.
The painting is not of a woman but there is an ambiguity as the figure
has feminine legs which are disproportionately long and thick, and a
short body. This painting prompts wonder, amusement, mystification,
delight.
Rowley's House museum holds the
excellent Morning View of Coalbrookdale by William Williamse. (3) An
important function of both painting and photography is to reflection a
way of life or, as in this case, a defining historical era. There is
too little representation of ways of life in contemporary art and
fiction and people need this affirmation of themselves. These engaging
paintings convey a powerful impression of the impact of early
industrialisation on a still natural landscape. There are many forms of
art which convey something important to people and prompt a variety of
responses. Shock is just one: it is negative and it is unimportant.
Saint Alkmunds church in Shrewsbury, has
a beautiful and moving stained glass in the east window. This is The
Assumption of the Virgin Mary by Francis Egington. In this the Virgin
Mary at the end of her journey through life and about to ascend to
heaven. She is standing on the firm ground of the cross; with the Bible
as the word of god for guidance and the sacraments represented by the
chalice. The struggles of life are symbolised by thistles on the path.
She is looking up in faith at the symbolic crown with her arms
outstretched and open to heavenly influence as if she were asking and
waiting to be uplifted back to her home in heaven. These were
developments by Egington the artist who based the work on The Assumption
of Saint Mary by Guido Remi of 1638 which is a more conventional
Assumption painting and has Mary being lifted by Cherubim.
As you enter the church you are
transfixed and walk towards it in awe looking up. It immediately begins
to form an emotional response and the feeling of awe grows as you
advance. This is not an intellectual proposition but a deep feeling of
transcendent emotions.
This acts like great art, on a deep,
unconscious level like an archetype. It opens the imagination
transmitting holy or noble feelings in contrast to the degenerate
contemporary art which spreads negative and evil thoughts. Old works
have a quiet authority and the viewer pauses to contemplate it with
respect, as when looking at old gravestones, to recreate the departed.
It is a development of traditional form and links us with our roots.
The contemporary age is one of excess of
technique. Jeff Robb, who has a permanent exhibition at the Victoria
and Albert, uses a method of lenticular sheets which are only sold by
one firm which is in Switzerland. This is very clever and often
fascinating but the subject matter is ordinary - nudes. His art is the
cleverness of what he does with the subject but he does not transform
the actual subject. Jeff needs specific equipment and ink cartridges to
produce his results. Technique is important but should be guided by the
vision not for its own sake or it is empty form.
The qualities that qualify a work as art
are intrinsic to art in general but Art with a capital "A" has an
elevated, sublime, purpose and is only realised by a high quality of
conception and execution. A visual object or experience created through
an expression of skill or imagination. The term art covers various
media: painting, sculpture, printmaking, drawing, decorative arts,
photography, and installation. The various visual arts exist within a
continuum that ranges from prompting deep feeling or transcendent
emotion and great skill to reproducing figures or landscape which have a
mood and also prompt thought or feelings.
Kimbolton School has murals by
Pellegrini. They give a sense of grandeur and seriousness and create a
suitable frame of mind for study.
The
modern understanding of art derived from Abbe Batteux in the 1740s who
regarded the essence as an "imitation of nature" and, principally, that
it caused pleasure. They cause various mental states in the beholder. He
defined these mental states as pleasure and the experience of beauty.
Prior to this, individual modes of art were attached to various sciences
like Music to Mathmatics but this is the skill not the purpose. Kant
promoted a universal criteria to decide if something was Art. He used a
geometric idea of patterns of shapes and lines. In The Critique of
Judgement he developed the notion of beauty as the cause of the the
mental state. The problem is beauty is so abstract as to mean something
different to everyone, though it is a word that describes the individual
appreciation of something very pleasing.
English philosopher Michael Oakeshott described two sorts of knowledge:
"The first sort of knowledge I will call
technical knowledge or knowledge of technique. In every art and
science, and in every practical activity, a technique is involved. In
many activities this practical knowledge is formulated into rules which
are, or may be, deliberately learned, remembered, and, as we say, put
into practice; but whether or not it is, or has been, precisely
formulated, its chief characteristic is that it is susceptible of
precise formulation, although special skill and insight.
The second sort of knowledge I will call
practical, because it exists only in use, is not reflective and (unlike
technique) can not be formulated in rules... " In art, this equates to
the distinction between natural talent or genius and the skill and
technique which realises the vision and meaning. Soccer players show a
high degree of skill and to great players it is natural but developed by
coaching and practice, but there is no high purpose involved.
Technique or genius; skill or a knack
There is a phenomenon in English art: a
seven year-old Kieron Williamson. He has an indefinable knack that is
called genius. This is artistic judgement in the practice of painting
when one knows instinctively what to put and where. He has natural
qualities: perspective, choice of colours. He has them automatically
but perspective is a technique for realising the vision and choice of
colours is part of the expression of the vision.
This knack is the artistic judgement. It
is a non rational process - it is intuition or instinct and it is this
that technique realises. In Kieron's case it was triggered by the Devon
and Cornwall landscape and "sprung full-born into life" like Athena
from Zeus's head. It was instantly realised, not slowly educed. (2)
To clarify the working of the two
functions of form and content, technique and vision we have a fine
example from music. Music was suffering the same culture war as
painting and was dominated by atonal styles and was saved from an
unexpected quarter. It was a paradox:
What we know as the culture wars and
political correctness could not have made progress if it had not been
adopted by the popular musicians of the 1960s. The words to The Beatles
hit Get Back were developed from a spoof of Enoch Powell's Rivers of
Blood speech. Paul McCartney later turned into a more conventional rock
song.
McCartney and John Lennon wrote melodies
and through harmony revived tonal music. Atonalists were destroying
traditional classical music as composers Schoenburg and Stockhausen did
with water gurgling down a drain noises. The Beatles natural musical
genius was realised through the technique of producer George Martin: The
Beatles were raw talent, Martin supplied the form.
McCartney and Lennon upported the New
Left and McCartney had a single banned by the BBC for apparently
supporting the IRA; Lennon was figurehead of the New Left-Politically
Correct movement and his records like the album "Sometime in New York
City" promoted it. He donated to The Black Panthers and The IRA.
Atonal composers disdained their
audiences as Bourgoise but Lennon and McCartney brought them together.
Martin's skill at realising their meaning added to the whole and
triumphed over the split between form and meaning in contemporary music.
Martin wrote the orchestral arrangements
and instrumentation in collaboration with them. It was Martin's idea
to put a string quartet on "Yesterday". To demonstrate his point he
played it in the style of Bach to show what "voicings" could be used. To
realise "Penny Lane" McCartney hummed the melody, and Martin wrote it
in music notation and David Mason, the classically trained trumpeter
played it in a piccolo trumpet solo. Eleanor Rigby was heightened by
Martin's strings-only accompaniment inspired by Bernard Hermann's score
for Alfred Hitchcock's film Psycho.
For "Strawberry Fields Forever", Martin
combined two different takes into one. For I Am the Walrus he provided
an original arrangement for brass, violins, cellos, and vocal ensemble.
He worked closely with McCartney to develop the orchestral 'climax' in A
Day In the Life.
The Artistic Subject
When he became a Christian, Salvador
Dali found an artistic subject and the inherent spirtuality of the
subject gave him a fuller, more elevated vision and he painted the
masterpieces of the twentieth century. He was a skilled draftsman who
developed his skills of realisation by studying Renaissance masters.
Much criticism of Dali was because he supported General Franco rather
than the Marxism of the orthodox Surrealists and art critics. They were
ideologues and like all ideologues expected their members to conform to
the manifesto or have their thinking corrected. Breton banned Dali
from The Surrealist movement in 1941 and tried to ban his "Sistine
Madonna" from the International Surrealism Exhibition in New York in
1960. It is said that Breton a Trotskyist, called Dalí in for
questioning on his politics as his political allegiances had changed.
After World War II, Dalí became close to General Franc's movement and
issued statements of support. He congratulated Franco for his actions
aimed "at clearing Spain of destructive forces" met him personally and
painted a portrait of his granddaughter.
His fascination with the hypercube a
four-dimensional cube and unfolding of a hypercube is featured in
"Corpus Hypercubus" which changes the traditional form but it is still
recognisable and we know what it represents. His "Last Supper" and "The
Christ of St. John of the Cross" are the masterpieces of the twentieth
century. This brings us to the essence of great Art: genius and
inspiration.
Contemporary painters and makers of
installations show contempt for the audience and do not work for the
public good. They seek a response but it is a negative response. They
are not geniuses and have to shock to get noticed. In fact they are not
really artists - but purveyors of clever tricks without deep meaning.
Art is communication but contemporary art fails to communicate because
of a disjuncture between subject and beholder, form and purpose.
The indefinable knack is intuitive
practice called genius. This is artistic judgement in the practice of
painting when one just knows instinctively what to put or where. This
knack is the artistic eye, artistic judgement and it is a non rational
process - it is intuition or instinct and it is this that trained and
developed technique realises." John Dryden captures it :"But genius
must be born, and never can be taught." It is the technique that is
taught not the genius, which is inborn, as the qualities that make a
work art are intrinsic to the work, not external nor contingent on where
the work is put.
The difference between nature and art is
this. When I point my camera at something that pleases me I first use
artistic judgement but I record natural phenomena. If I take a sunset it
is reproducing nature and is not art but nature. However, if I then
use the zoom function, it has the effect of condensing the distance and
thereby magnifying the gold or red which is moving from nature to art
because it is introducing a technique to change the reproduction of the
natural phenomena and make an artistic end. I recently took several
photos of a sunrise in Penzance Bay in Cornwall and sunset at Brighton.
There is little technique involved and as long as you point the camera
at the right thing you are away. The camera is recording natural
phenomena but a meaning is conveyed from photographer to viewer as the
scene automatically conveys certain emotions to the viewer. In the above
examples it is natural beauty. When you look at a photograph of a
landscape a chain of thought is triggered which moves from the inherent
emotional state conveyed to personal and often unconscious thoughts and
feelings.
A similar process occurs in art as the
idea or a scene is transformed through human imagination and emotion
till it becomes a work of art: transformed reality.
Nicholas Green (
