IS BAD ART ART ? IS BAD ART BAD?
Usually, we judge everything in the parameter of “Good or Bad”. I have a question in my mind. Is it possible to judge/define everything in the parameter of “Good or Bad”?
What about ART ? What is BAD ART ? What is GOOD ART ? IS BAD ART; ART ? IS BAD ART; BAD ?
WHAT IS AESTHETICS
Aesthetics Philosophy of the Arts
Aesthetics (/ɛsˈθɛtɪks/; also spelled æsthetics and esthetics also known in Greek as Αισθητική, or “Aisthētiké”) is a branch of philosophy dealing with the nature of art, beauty, and taste, with the creation and appreciation of beauty. It is more scientifically defined as the study of sensory or sensori-emotional values, sometimes called judgments ofsentiment and taste. More broadly, scholars in the field define aesthetics as “critical reflection on art, culture andnature.” In modern English, the term aesthetic can also refer to a set of principles underlying the works of a particular art movement or theory: one speaks for example of the Cubist aesthetic.
Aesthetics and the philosophy of art
For some, aesthetics is considered a synonym for the philosophy of art since Hegel, while others insist that there is a significant distinction between these closely related fields. In practice, aesthetic judgement refers to the sensory contemplation or appreciation of an object (not necessarily an art object), while artistic judgement refers to the recognition, appreciation or criticism of art or an art work.
Philosophical aesthetics has not only to speak about art and to produce judgments about art works, but has also to give a definition of what art is. Art is an autonomousentity for philosophy, because art deals with the senses (i. e. the etymology of aesthetics) and art is as such free of any moral or political purpose. Hence, there are two different conceptions of art in aesthetics: art as knowledge or art as action, but aesthetics is neither epistemology nor ethics.
Dada (/ˈdɑːdɑː/) or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zürich,Switzerland, began in 1916 at Cabaret Voltaire, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915. The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his first readymades. Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.
Dada In 60 Seconds.
The Nonsensical Art of Dada | Dadaism.
Neo-Dada was a movement with audio, visual and literary manifestations that had similarities in method or intent with earlier Dada artwork. In the United States the term was popularized by Barbara Rose in the 1960s and refers primarily, although not exclusively, to work created in that and the preceding decade. There was also an international dimension to the movement, particularly in Japan and in Europe, serving as the foundation of Fluxus, Pop Art and Nouveau réalisme.
Neo-Dada was exemplified by its use of modern materials, popular imagery, and absurdist contrast. It was a reaction to the personal emotionalism of Abstract Expressionism and, taking a lead from the practice of Marcel Duchamp and Kurt Schwitters, denied traditional concepts of aesthetics.~ Wikipedia
Fluxus is an international and interdisciplinary network or movement of artists, poets, composers, and designers of the 1960s and 1970s, noted for experimental syntheses of different artistic media and disciplines. Participants from fields as diverse as art, poetry, economics, and chemistry produced performance “events,” which included enactments of scores, “Neo-Dada” noise music, and time-based works, as well as concrete poetry, visual art, urban planning, architecture, design, literature, and publishing. Many Fluxus artists share an anti-commercial and anti-art sensibility.
Fluxus is sometimes described as intermedia. In 1964, Fluxus artist, poet, and publisher Dick Higgins identified and named the category of intermedia to explain new syntheses of two or more unrelated media or disciplines. The ideas and practices of composer John Cage influenced Fluxus, especially his notion that one should embark on an artwork without a conception of its end, and his understanding of the work as a site of interaction between artist and audience.
The process of creating was privileged over the finished product. Another influence was the readymades of Marcel Duchamp, a French artist who was active in Dada (1916-c. 1922). George Maciunas, the self-proclaimed founder of this fluid movement, coined the name Fluxus in 1961 to title a proposed magazine.
The Fluxus movement… developed its ‘anti-art’, anti-commercial aesthetics under the leadership of George Maciunas. Fluxus staged a series of festivals in Paris, Copenhagen, Amsterdam, London and New York, with avant-garde performances often spilling out into the street. Most of the experimental artists of the period, including Alison Knowles,Joseph Beuys, Yoko Ono, Nam June Paik, Dick Higgins, and Wolf Vostell took part in Fluxus events. The movement, which still continues in diverse forms, played an important role in the opening up of definitions of art.
What is Fluxus?
Yoko Ono, Paik, Vostell,…Fluxus-Happening-Artists, 1990
Anti-art is a loosely used term applied to an array of concepts and attitudes that reject prior definitions of art and question art in general. Somewhat paradoxically, anti-art tends to conduct this questioning and rejection from the vantage point of art. The term is associated with the Dada movement and is generally accepted as attributable to Marcel Duchamp pre-World War I around 1914, when he began to use found objects as art. It was used to describe revolutionary forms of art. The term was used later by the Conceptual artists of the 1960s to describe the work of those who claimed to have retired altogether from the practice of art, from the production of works which could be sold.
An expression of anti-art may or may not take traditional form or meet the criteria for being defined as a work of art according to conventional standards. Indeed, works of anti-art may express an outright rejection of having conventionally defined criteria as a means of defining what art is, and what it is not. Anti-artworks may reject conventional artistic standards altogether, or focus criticism only on certain aspects of art, such as the art market and high art. Some anti-artworks may reject individualism in art,whereas some may reject “universality” as an accepted factor in art. Additionally, some forms of anti-art reject art entirely, or reject the idea that art is a separate realm or specialization. Anti-artworks may also reject art based upon a consideration of art as being oppressive of a segment of the population.
Anti-art artworks may articulate a disagreement with the generally supposed notion of there being a separation between art and life. Indeed, anti-art artworks may voice a question as to whether “art” really exists or not. “Anti-art” has been referred to as a “paradoxical neologism,” in that its ostensible opposition to art has been observed concurring with staples of twentieth-century art or “modern art,” in particular art movements that have self-consciously sought to transgress traditions or institutions. Anti-art itself is not a distinct art movement, however. This would tend to be indicated by the time it spans—longer than that usually spanned by art movements. Some art movements though, are labeled “anti-art”. The Dada movement is generally considered the first anti-art movement; the term anti-art itself is said to have been coined by Dadaist Marcel Duchamp around 1914, and his readymades have been cited as early examples of anti-art objects. Theodor W. Adorno in Aesthetic Theory (1970) stated that “…even the abolition of art is respectful of art because it takes the truth claim of art seriously.”
Anti-art has become generally accepted by the artworld to be art, although some people still reject Duchamp’s readymades as art, for instance the Stuckist group of artists, who are “anti-anti-art“.
George Maciunas was a Lithuanian-American artist. He was a founding member and the central coordinator of Fluxus, an international community of artists, architects, composers, and designers. ~ Wikipedia
Born: November 8, 1931, Kaunas, Lithuania
Died: May 9, 1978, Boston, Massachusetts, United States
Spouse: Billie Hutching (m. 1978)
Artwork: Fluxkit (in 25 parts), more
Education: Carnegie Mellon College of Engineering, Carnegie Mellon University, Cooper Union
GILBERT & GEORGE