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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II. Perspectives
of the time, to draw attention to
dynamics
that it intentionally downplays.
elements
art is an amendment to history; he does
Kaphar’s
erase or replace problematic historical
not
and representations, but invites us to
narratives
at them anew, paying attention to the
look
the overlooked characters, as a way of
margins,
to terms with the unspoken truths of a
coming
terms: Can art amend
Search
Kaphar TED
history?
about how this reframing and shifting of
Think
in art could be done in your context.
attention
should art speak to history, and what
How
it say? Below, we consider how art today
should
helping to lift the shadows cast by colonialism
is
centuries of African history, including
over
2019 exhibition Caravans of Gold, Fragments
The
Time: Art, Culture and Exchange Across
in
Saharan Africa sought to reinstate
Medieval
Africa’s global legacy. West Africa was not
West
by colonists, as is frequently heard,
“discovered”
rather was a thriving, globally significant
but
centre in the medieval period,
commercial
the 8th and 16th centuries, connected
between
trade networks with other regions as far
through
China and the Alps.
as
is a very different legacy from the one
This
in most art and history museums even
presented
The arts of Africa are usually “positioned
today.
having been discovered … and folded into
as
Western art movements for the first time
major
the late 19th and early 20th centuries” (Sandy
in
But the Caravans of Gold exhibition uses
2019).
history to shed light on “the story of the
art
African cities and empires that were
thriving
to the global medieval world”
foundational
quoted in Sandy 2019). Fragments
(Berzock
these ancient art works include Chinese
of
found in Mali and a lost-wax cast made
porcelain
Alpine copper found in Nigeria.
of
10
past 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 10.8b
made of copper
made of African ivory
296
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