Theory of Knowledge - Course Companion for Students Marija Uzunova Dang Arvin Singh Uzunov Dang
is not an art exhibition, and it is by noplacea work of art” wrote the committeedefinition,York Herald, 14 April 1917). Critics of the(Newquestioned long-standing assumptionsdecisionwhat art is, how it is produced and howaboutway in which it is presented affects its statusthevalue. Fountain posed many importantandamong them: in order to be consideredquestions,terms: DuchampSearchMoMa YouTubeReadymadesthe linked video, Museum of Modern ArtInAnn Temkin explains how Duchamp’scuratorchallenged common beliefs:“Readymades”art has to be beautiful, that being an artistthatskillful technique, or indeed thatrequiresart needs to be seen.visualor can anything be re-contextualizedintention,re-conceptualized as art?andwe may think today about the artisticWhateverand value of Fountain, the events on themeritof its centennial in 2017 testify to itsoccasioninfluence. Given the ripples it sentprofoundthe art world, could one reasonablythroughFountain as a work of art?dismissIs the popularity of Fountain relevant in1.it is afforded artistic status?whetherWe can speculate that had Duchamp, a2.artist, submitted the work inrespectedown name it may have been exhibited.hiswould be the implications of this?WhatIs art unique in being able to evolve and3.over time to include things thatexpandentirely outside or opposed to itsweredefinition?I. ScopeI. Scopeartwork, must an object be produced with artisticFigure 10.1 Fountain by Marcel Duchamp (1917)For discussionHow to see “Readymades”279
I. Scopethe historical development of the naturalComparewith the changing boundaries of art oversciencesWhat can we say about the dierences andtime.between new movements in art andsimilaritiesto what extent knowledge is discarded,Consideror rendered obsolete in the historicalreplacedof the arts. How do these processesdevelopmentto the other AOKs?compareconventions were set aside, it seemedOnceanything could become art and that artthata statement about itself. The past centurybecameart of ordinary things, such as danceproducedthe movement of pedestrians and music ofofnoise. It even produced art of theeverydayof things, such as blank canvasesabsencevisual art and silence as music, as in Johnas4’33”. And while the intention may haveCage’sto liberate art and make it synonymousbeenlife, so that we may “hear music in thewithsilences”, the strange fact is that we caneverydayand cheaply purchase Cage’s track calledeasilyand listen to that particular silence.4’33”we as an audience engage with art canHowout of sync with the art world’s multiple,beevolving ideas about what art is orcompeting,to be. Our experiences with art and theoughtwe derive from it reveal questionsmeaningsdifferences in how we engage with artisticandhis 1972 series Ways of Seeing, the artist andInJohn Berger interrogates the elitism ofcriticconnoisseurship and the snobberies of highartculture. Ways of Seeing is an invitation toartour encounter with art, not justdemocratizeconsumers but as active and curious agentsasthe production and reproduction ofexaminingits presentation and its power to both shapeart,most ground-breaking thing we did was addressThepublic in a way that was non-elitist, equal, reallytheinto their eyes. There’s one point at which Ilookingsomething like, ‘Question now what I’m saying,sayabout it, disagree if you want to’. That voice—thinka little conspiratorial—was the mostcompanionable,terms: Berger Ways ofSearchepisode 1 YouTubeseeingof Seeing also invites our scrutiny ofWaysevaluations of the value and meaning offormal“The relation between what we seeartworks.what we know is never settled”, Berger saysandin the 1970s, Ways of Seeing respondedBroadcasta historical moment that saw great artworkstoas popular and readily available imagesreproducedvarious media. Today’s digital culture brings aboutinways of accessing, producing and engaging withnewWe explore whether new ways of seeing may beart.in the digital age of art and culture, andnecessarywe can learn from Berger, in Chapter 4.whatthe powerful 20th-centuryDespiteof art, there are still institutionsdemocratizationconventions that maintain the boundaries ofandin such a way that privileges certain practices,artand traditions. A few examples of thisprocesseswork are examined below.boundary10Making connectionsArt movements and paradigm shifts in scienceimportant thing.paradigm shifts in science?(Berger quoted in Abbott 2012)(1972). Follow the link to episode 1 to learn more.Making connectionsDigital ways of seeingknowledge and practices.and reflect the world.280
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is not an art exhibition, and it is by no
place
a work of art” wrote the committee
definition,
York Herald, 14 April 1917). Critics of the
(New
questioned long-standing assumptions
decision
what art is, how it is produced and how
about
way in which it is presented affects its status
the
value. Fountain posed many important
and
among them: in order to be considered
questions,
terms: Duchamp
Search
MoMa YouTube
Readymades
the linked video, Museum of Modern Art
In
Ann Temkin explains how Duchamp’s
curator
challenged common beliefs:
“Readymades”
art has to be beautiful, that being an artist
that
skillful technique, or indeed that
requires
art needs to be seen.
visual
or can anything be re-contextualized
intention,
re-conceptualized as art?
and
we may think today about the artistic
Whatever
and value of Fountain, the events on the
merit
of its centennial in 2017 testify to its
occasion
influence. Given the ripples it sent
profound
the art world, could one reasonably
through
Fountain as a work of art?
dismiss
Is the popularity of Fountain relevant in
1.
it is afforded artistic status?
whether
We can speculate that had Duchamp, a
2.
artist, submitted the work in
respected
own name it may have been exhibited.
his
would be the implications of this?
What
Is art unique in being able to evolve and
3.
over time to include things that
expand
entirely outside or opposed to its
were
definition?
I. Scope
I. Scope
artwork, must an object be produced with artistic
Figure 10.1 Fountain by Marcel Duchamp (1917)
For discussion
How to see “Readymades”
279
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