Theory of Knowledge - Course Companion for Students Marija Uzunova Dang Arvin Singh Uzunov Dang
artists actively promoted the useFeministhistorically feminine materials, skills andofthereby enriching and widening theartforms,of the “fine arts”. An example isperspectiveChicago’s significant and controversialJudyinstallation The Dinner Party. Produced1979over 5 years by over 400 artists,collaborativelyinstallation consists of 39 seats at a dinnertheeach place celebrating a famous womantable,history. In addition, there are names offrom998 noteworthy women from historyanotherin gold on heritage floor tiles. Eachinscribedsetting is unique, featuring forms of art suchtablechina painting, pottery, embroidery, weavingasso on, and was meant to draw attention toandknowledge of these art forms, and their valuethefine or high art, being exhibited in reputableasinstitutions. The installation has toured sixartfor all its success, and despite beingButas a triumph for women artists andhailedart, The Dinner Party has also receivedfeministaround questions of inclusion andcriticismof historical women figures.representationforms of art, and which women, wereWhichenough to be included? What issignificantand lost by the presence or erasuregainedcertain perspectives? These questions ofofinclusion and significance, asrepresentation,as the central question of what counts aswellare woven throughout this bookknowledge,will be important to engage with in yourandTOK exhibition as part of the internalownThe choices you make will haveassessment.Consider the implications ofimplications.books, tattoos and advertisement areComicthe creative processes and productsamonghave had their artistic status questioned.thatfactors influence whether these can beWhatexample above alerts us to the fact thatTheor blurring distinctions does not eraseerasingunderlying power relations; the powersthesimply decided how far the boundaryhaveshift and maintain it through variouswilland processes.institutionsTOK course itself is not outside theTheof influence of the intellectual traditionspheredrew boundaries between art and craft,thatindustries and cultural aestheticcreativeMaking the arts a mandatory AOKpractices.the value and relevance of this bodysignalsknowledge and validates the importanceofthe knowledge community that producesofHowever, the membership of potters,it.embroiderers and other craftspeopleweavers,this community is not uncomplicated orinThis book, and the TOKuncontroversial.does not have a chapter on craft:course,the implications and possible reasonsconsiderexcluding the combined knowledge offorfrom the theory of knowledge.craftspeoplea role: for example, some tattoo artistsplaysby that title, whereas others prefer to callgotatooists. To what extent would youthemselvesa boundary between art and othermaintainpursuits? How would you define thiscreativeboundary?I. ScopeI. ScopeThe Dinner Party by Judy ChicagoFigure 10.3continents and had over 15 million visitors.Chicago’s decisions for The Dinner PartyFor reflectionThe “borderline” cases of artconsidered examples of art? Language also283
I. ScopeTruth and knowledge in art: TwoI.2perspectives2009, Jeremy Deller acquired the rustyInof a taxicab that had been destroyedremainsa suicide bomb in Baghdad two yearsinHe towed it on a road trip acrosspreviously.cities from New York to Los Angeles,14it in public places, college campusesexhibitingeventually art museums. Accompanyingandwere Iraqi artist Esam Pasha and enlistedhimsoldier Jonathan Harvey. The art project,USIt Is What It Is: Conversations About Iraq,calledart critic writing for the New YorkAnKen Johnson, praised the project’sTimes,presence” but chose not to call“sculpturalart, using the term “artefact” instead.itinsisted on the project’s educationalJohnsonits potential to raise consciousness andvalue,10.2 features an artwork of disputed statusBoxallows important questions to be askedthatto create space for audiences to engageaimedthe two experts. It was Deller’s statedwithto present the project “neutrally” andintentionthe conversation open-ended. His projectkeepmuch social engagement and manysparkeddrawing a diverse audience.conversations,this project at the intersection of art andYet,had a mixed reception among art criticspoliticscalling it art would not be doing itthatreminding viewers that by namingjustice,project It Is What It Is, Jeremy Deller didthenecessarily have such artistic pretentionsnotit was deemed by critics as too obviousWhilebe art, activists argued that it was tooto10about the knowledge people gain from art.Box 10.2: It is what it is, but is it art?and activists.but rather sought to prompt conversation.possible therapeutic virtues but maintained284
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I. Scope
Truth and knowledge in art: Two
I.2
perspectives
2009, Jeremy Deller acquired the rusty
In
of a taxicab that had been destroyed
remains
a suicide bomb in Baghdad two years
in
He towed it on a road trip across
previously.
cities from New York to Los Angeles,
14
it in public places, college campuses
exhibiting
eventually art museums. Accompanying
and
were Iraqi artist Esam Pasha and enlisted
him
soldier Jonathan Harvey. The art project,
US
It Is What It Is: Conversations About Iraq,
called
art critic writing for the New York
An
Ken Johnson, praised the project’s
Times,
presence” but chose not to call
“sculptural
art, using the term “artefact” instead.
it
insisted on the project’s educational
Johnson
its potential to raise consciousness and
value,
10.2 features an artwork of disputed status
Box
allows important questions to be asked
that
to create space for audiences to engage
aimed
the two experts. It was Deller’s stated
with
to present the project “neutrally” and
intention
the conversation open-ended. His project
keep
much social engagement and many
sparked
drawing a diverse audience.
conversations,
this project at the intersection of art and
Yet,
had a mixed reception among art critics
politics
calling it art would not be doing it
that
reminding viewers that by naming
justice,
project It Is What It Is, Jeremy Deller did
the
necessarily have such artistic pretentions
not
it was deemed by critics as too obvious
While
be art, activists argued that it was too
to
10
about the knowledge people gain from art.
Box 10.2: It is what it is, but is it art?
and activists.
but rather sought to prompt conversation.
possible therapeutic virtues but maintained
284