Theory of Knowledge - Course Companion for Students Marija Uzunova Dang Arvin Singh Uzunov Dang
artists, and art institutions, define asselectThe philosopher George Dickie expandedart.this idea by defining supplementaryuponroles such as critic, teacher, directorartworldcurator, among others. But, as Dr Sarahandargues, Dickie and Danto failed toHegenbartfor the massive influence that the artaccountand wealth, was asserting onthe artmarket,Increasingly, key artworks are beingworld.as investments, raising eye-wateringseenin specialist sales and sitting in thepricesand bank vaults of the super-rich. Thishomesof “art as investment” has the potentialviewredefine what art is and what it is for.todo we decide on the “value” of anHowwhen art institutions and expertsartworkit differently from the market? Whatvalueit mean to label those art institutionswouldare trying to resist higher valuationsthat“conservative”? What would it mean toaseconomic theory, the free market, in theInof state intervention and marketabsencearrives at the “right” price for a givenfailures,If the art market appears to be failing ingood.What are some of the tensions between1.members in the art worlddifferentartists, art critics, curators, art(audiences,art teachers and students, arthistorians,art uniquely well placed to express theIsand unspeakable? Can it be thoughtunspokenas a language that does what other languagesofcannot?function, why might this be, and whatthatfor valuing art exist? Somealternativeshave cautioned, for example, thatobserversart is used to transfer money out ofexpensivewithout paying tax, a practicecountriesas money laundering. This is greatlyknownby the anonymity of art workfacilitatedand the inherent difficulties oftransactionsart as opposed to, for example, avaluingFollow the link for one analysis by thehouse.terms: Has art marketSearchpartner in crimeunwitting(2019) suggests that curators, beingHegenbartremoved from the “capitalist spectacle”morehigh art (as opposed to artists, dealers andofinstitutions), function as more neutral orartgatekeepers, ensuring that works areobjectivefor artistic, rather than monetary,displayedBy virtue of their position as curatorsvalue.may also be better placed to influence,theythan merely reflect, the financial andrathervalues of their time.artisticart communities and so on) withdigitalto access to art?regardsWhose perspective has weight and should2.on the value of art? How would youmatterWhat are the different responsibilities of3.members of the art world withdifferenthave an abundance of artworks produced inWecontext of a problematic past. The painterthesculptor Titus Kaphar works at theandof art and history, reclaimingintersectioninto new narratives. In the linkedartworkstalk, Kaphar paints over a replica of aTEDII. PerspectivesII. PerspectivesNew York TimesNYTimesdescribe the art market as “commodified”?For ref lectionThe art world as a knowledgecommunitydecide?dealers, gallery owners, art magazines,respect to knowledge?II.3 Art as unspoken and unspeakabletruths17th-century painting that invokes the racial295
II. Perspectivesof the time, to draw attention todynamicsthat it intentionally downplays.elementsart is an amendment to history; he doesKaphar’serase or replace problematic historicalnotand representations, but invites us tonarrativesat them anew, paying attention to thelookthe overlooked characters, as a way ofmargins,to terms with the unspoken truths of acomingterms: Can art amendSearchKaphar TEDhistory?about how this reframing and shifting ofThinkin art could be done in your context.attentionshould art speak to history, and whatHowit say? Below, we consider how art todayshouldhelping to lift the shadows cast by colonialismiscenturies of African history, includingover2019 exhibition Caravans of Gold, FragmentsTheTime: Art, Culture and Exchange AcrossinSaharan Africa sought to reinstateMedievalAfrica’s global legacy. West Africa was notWestby colonists, as is frequently heard,“discovered”rather was a thriving, globally significantbutcentre in the medieval period,commercialthe 8th and 16th centuries, connectedbetweentrade networks with other regions as farthroughChina and the Alps.asis a very different legacy from the oneThisin most art and history museums evenpresentedThe arts of Africa are usually “positionedtoday.having been discovered … and folded intoasWestern art movements for the first timemajorthe late 19th and early 20th centuries” (SandyinBut the Caravans of Gold exhibition uses2019).history to shed light on “the story of theartAfrican cities and empires that werethrivingto the global medieval world”foundationalquoted in Sandy 2019). Fragments(Berzockthese ancient art works include Chineseoffound in Mali and a lost-wax cast madeporcelainAlpine copper found in Nigeria.of10past of slavery and racism.art history.Tada seated gure, Nigeria, late 13th–14th century,Figure 10.8a Virgin and child, France, circa 1275–1300,Figure 10.8bmade of coppermade of African ivory296
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artists, and art institutions, define as
select
The philosopher George Dickie expanded
art.
this idea by defining supplementary
upon
roles such as critic, teacher, director
artworld
curator, among others. But, as Dr Sarah
and
argues, Dickie and Danto failed to
Hegenbart
for the massive influence that the art
account
and wealth, was asserting onthe art
market,
Increasingly, key artworks are being
world.
as investments, raising eye-watering
seen
in specialist sales and sitting in the
prices
and bank vaults of the super-rich. This
homes
of “art as investment” has the potential
view
redefine what art is and what it is for.
to
do we decide on the “value” of an
How
when art institutions and experts
artwork
it differently from the market? What
value
it mean to label those art institutions
would
are trying to resist higher valuations
that
“conservative”? What would it mean to
as
economic theory, the free market, in the
In
of state intervention and market
absence
arrives at the “right” price for a given
failures,
If the art market appears to be failing in
good.
What are some of the tensions between
1.
members in the art world
different
artists, art critics, curators, art
(audiences,
art teachers and students, art
historians,
art uniquely well placed to express the
Is
and unspeakable? Can it be thought
unspoken
as a language that does what other languages
of
cannot?
function, why might this be, and what
that
for valuing art exist? Some
alternatives
have cautioned, for example, that
observers
art is used to transfer money out of
expensive
without paying tax, a practice
countries
as money laundering. This is greatly
known
by the anonymity of art work
facilitated
and the inherent difficulties of
transactions
art as opposed to, for example, a
valuing
Follow the link for one analysis by the
house.
terms: Has art market
Search
partner in crime
unwitting
(2019) suggests that curators, being
Hegenbart
removed from the “capitalist spectacle”
more
high art (as opposed to artists, dealers and
of
institutions), function as more neutral or
art
gatekeepers, ensuring that works are
objective
for artistic, rather than monetary,
displayed
By virtue of their position as curators
value.
may also be better placed to influence,
they
than merely reflect, the financial and
rather
values of their time.
artistic
art communities and so on) with
digital
to access to art?
regards
Whose perspective has weight and should
2.
on the value of art? How would you
matter
What are the different responsibilities of
3.
members of the art world with
different
have an abundance of artworks produced in
We
context of a problematic past. The painter
the
sculptor Titus Kaphar works at the
and
of art and history, reclaiming
intersection
into new narratives. In the linked
artworks
talk, Kaphar paints over a replica of a
TED
II. Perspectives
II. Perspectives
New York Times
NYTimes
describe the art market as “commodified”?
For ref lection
The art world as a knowledge
community
decide?
dealers, gallery owners, art magazines,
respect to knowledge?
II.3 Art as unspoken and unspeakable
truths
17th-century painting that invokes the racial
295