Art Appreciation-Chapter13

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Evaluating Art Chapter 13

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Dawn Marie Jingagian. Shy Glance . 1976. 18" × 24". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

Elizabeth Louise Vigee-LeBrun. Self-Portrait in a Straw Hat . 1782. 97.8 × 70.5 cm NG1653. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

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Art Criticism ,[object Object],[object Object],[object Object],[object Object],[object Object]

Formal Theories ,[object Object],[object Object],[object Object],[object Object]

Titian. Pietà . 1576. 149" × 136". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

Contextual Theories ,[object Object],[object Object]

Expressive Theories ,[object Object],[object Object],[object Object]

Frank Modell. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

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11 Art and Ethics Peggy Blood and Pamela J. Sachant 11.1 LEARNING OUTCOMES After completing this chapter, you should be able to: • Understand why art and ethics are associated • Identify works of art that were censored due to their failure to meet societal ethics • Indicate why ethical values change over time by society • Articulate why some societal groups may consider some works of art controversial • Identify ethical considerations in the artist’s use of others’ art work in their own, the materials used in making art, manipulation of an image to alter its meaning or intent, and the artist’s moral obligations as an observer • Identify roles that museums play in the preservation, interpretation, and display of culturally significant objects 11.2 INTRODUCTION This chapter is concerned with the perception, susceptibility, and ethics of art. It will explore and analyze the moral responsibility of artists and their rights to represent and create without censorship. Morality and art are connected usually in art that provokes and disturbs. Such art stirs up the artist’s or viewer’s personal beliefs, values, and morals due to what is depicted. Works that seem to purposely pursue or strongly communicate a message may cause controversies to flair up: controversies over the rights of artistic freedom or over how society evaluates art. That judgment of works created by artists has to do with society’s value judgment in a given time in history. The relationship between the artist and society is intertwined and sometimes at odds as it relates to art and ethics. Neither has to be sacrificed for the other, however, and neither needs to bend to the other in order to create or convey the work’s message. Page | 279 CHAPTER TEN: ART AND RITUAL LIFE Page | 280 INTRODUCTION TO ART Art is subjective: it will be received or interpreted by different people in various ways. What may be unethical to one may be ethical to another. Because art is subjective, it is vulnerable to ethical judgment. It is most vulnerable when society does not have a historical context or understanding of art in order to appreciate a work’s content or aesthetics. This lack does not make ethical judgment wrong or irrational; it shows that appreciation of art or styles changes over time and that new or different art or styles can come to be appreciated. The general negative taste of society usually changes with more exposure. Still, taste remains subjective. Ethics has been a major consideration of the public and those in religious or political power throughout history. For many artists today, the first and major consideration is not ethics, but the platform from which to create and deliver the message through formal qualities and the medium. Consideration of ethics may be established by the artist but without hindrance of free expression. It is expected that in a work of art an artist’s own beliefs, values, and ideology may contras ...

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Art Appreciation-Chapter13

1. Evaluating Art Chapter 13

2.

3. Dawn Marie Jingagian. Shy Glance . 1976. 18" × 24". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

4. Elizabeth Louise Vigee-LeBrun. Self-Portrait in a Straw Hat . 1782. 97.8 × 70.5 cm NG1653. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

5.

6.

7.

8. Titian. Pietà . 1576. 149" × 136". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

9.

10.

11. Frank Modell. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

Notas del editor

The Museum of Bad Art, Dedham, MA.
NG1653. © National Gallery, London.
SCALA\\Art Resource, N.Y.
© The New Yorker Collection, 1983. Frank Modell from cartoonbank.com. All Rights Reserved.