different dimensions of art

different dimensions of art

Feminism

Philosophers have long argued that as empirical and objective as science is, it cannot capture and explain phenomena like emotion and the true essence of the soul (Brooklyn Museum, 2019). Art has been there from the onset of time, from cave paintings of Neanderthals to sophisticated skyscrapers in metropolitan cities and hanging tapestries reigning supreme in several museums all over the world. Through art, there has been self-expression and the portrayal of the surrounding society from which the piece of art originates (Eusebio, 2019). Art has served as a source of beauty and as a means to capture beauty itself (Brooklyn Museum, 2019). It has also aided several societal purposes like critiquing political regimes. This paper aims to see the different dimensions of art, how they affect the artists and the society around them, and how they evoke resonance from those who are subjected to them.

1. Art and the Public Scene

A number of artists get inspired by the society around them. Occurrences that stir the artistic side of an individual, be it a painter, sculptor, poet, novelist, or songwriter, are inherent all around us (Eusebio, 2019). The urban space, for one, is a very strong source of inspiration for many. With themes that ride the spectrum of good and bad, like social ills, think corruption, to the blessings bestowed upon neighborhoods like overpass roads and bridges, there is a limitless number of situations, people, and objects to draw from, and this is what art is all about.

Additionally, art can be inspired by national events like a country winning all three medals in a marathon, or a country’s independence. Historical events also play a huge role in the creation of art (Eusebio, 2019). The revolution in Chile has inspired countless pieces of art that celebrate the struggle that took place in the country.

The society also reacts to art that mirrors it. A society with neighborhoods filled with flower graffiti is structurally different from one filled with graffiti that depicts gang affiliations. The community reacts differently to each of these depictions (Eusebio, 2019). Art is the mirror of society, and if it is gallant, then society is. If it is unchaste, then that is what society is. Reaction to the image projected in a mirror is usually honest, as the mirror never lies.

1. Art and the Commodity Culture

In recent years, Leonardo da Vinci’s Salvator Mundi, a crisp painting of Christ, became the most expensive piece of art on sale after the bidding went well over $430 million (Noriega, 2019). The painting, one of the only surviving masterpieces of the legend, was once sold for $60 after it was thought a copy (Noriega, 2019). In the classic, neo-classic, and romantic eras, most painters and sculptors only displayed their works for the public to see without asking for any fee, but with the onset of the new age came careers out of such that put food on people’s tables and blankets over their backs. Most artists prefer monetary appreciation for their efforts while some do not. It is all relative, and it all ties down to the subjective nature of each artist (Noriega, 2019).  This trivial topic has also formed a theme for artists to draw upon, and there have been several works of art presented that critique this commodification of art.

1. Art and the Audience

As discussed above, society influences art and literature in many ways. Some of these ways are direct, while others are not (Brooklyn Museum, 2019). Connecting with one’s audience has always been integral in art as one can only go so far with talent and no audience. Even with this said, artists choose to work on their pieces in the confines of their workspaces without involving the public and only present the finished product, which is always appreciated (Brooklyn Museum, 2019). As popular as this mode of art creation is, some do not conform to this process. In recent times, there has emerged a trend of letting fans and connoisseurs tag along for the ride; that is, the creation of the art piece (Brooklyn Museum, 2019). This involvement creates a closer relationship between the fans and the artists, and this bond culminates in a deeper understanding of the created art by both of the involved sides.

The creator gets to understand the way his art is perceived as it is mid creation, and the watcher gets to understand the creative process and actively participate in it. The bond created is that of loyalty, but as lucrative as it sounds, sometimes can carry adverse consequences for the artist (Brooklyn Museum, 2019).

The audience directly has an effect on the art piece. This is because direct feedback as the piece is in creation. This direct feedback can alter the course of the art and change the artist’s original vision of the piece, thus creating a completely different work from the intended (Brooklyn Museum, 2019). Involving the audience also limits creative input from the artist — creation of what one wants without ill comments stirring the course of creation.

1. Art and Politics

Many an artist has been involved in political revolutions through art and literature. In continents, most of the first wave politicians after the independence of many countries were artists who doubled in the arts as much as they did in politics (Brooklyn Museum, 2019).

Artists from Chile, for example, in their pieces, respond to the oppression of the minority in countries such as America. The adaptation of Che Guevara, one of the most renown Argentine Marxist revolutionaries in almost all their works, points to a guerrilla-like struggle against racial profiling, for example, and as a revolt against an oppressive government. Artists like Helio Oiticica, in his Parangole (I embody revolt), 1964, straw, stuffed burlap shows the troubles of one who is fighting for political rights and equality (Brooklyn Museum, 2019).

1. Art and the Museum

Should art be displayed in museums or the private galleries of homeowners? The established belief regarding this conundrum is that art “sits on its ass in a museum”- Claes Oldenburg (Brooklyn Museum, 2019). Today’s art seeks to go against both these notions, negating their possibilities, which both hold. An excellent example of this is the art displayed on street walls like graffiti. It is neither in a museum nor in the confines of some rich man’s halls or vault. Art can be bought and displayed in homes. Such include paintings, carvings, and sculptures. Some are usually gifted to owners as a show of goodwill by the artists.

Despite the selling of art to private collectors being popular, it is not uncommon to find paintings and such displayed in public galleries and museums. An example of this is the Mona Lisa by da Vinci that sits in Paris’ Louvre (Eusebio, 2019).

There are several reasons as to why one might be moved to present his or her works to private buyers and contractors. This includes the benefits of being affiliated to some elite collectors who are expert connoisseurs, the need for exposure that can only be achieved through subjecting one’s work to a tailored selection of audiences (Eusebio, 2019).

Established artists usually go back to museums in order to display their work. This is because the needed exposure is already achieved, and one has created a name for himself out there. In addition to this, displaying one’s pieces next to legendary or in outspoken venues can gain one the reputation one needs in order to ascend even higher on the art ladder (Noriega, 2019).