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But Is It Art?: An Introduction to Art Theory, by Cynthia Freeland
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From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art?
In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that stretch from modern, often sensational, works back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. In addition, Freeland guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Lastly, throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor.
It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art.
- Sales Rank: #38464 in Books
- Color: White
- Published on: 2002-04-04
- Original language: English
- Number of items: 1
- Dimensions: 4.70" h x .80" w x 6.70" l, .56 pounds
- Binding: Paperback
- 256 pages
From Publishers Weekly
A survey of everything from aesthetic theory to digital imaging, and of everyone from Goya to Damien Hirst, is packed into seven fast-break chapters here. Freeland (The Naked and the Undead), a philosophy professor at the University of Houston, is familiar enough with the impenetrable artspeak and rhetoric surrounding such issues as identity politics, censorship and public funding not to be intimidated by them; her cut-to-the-chase approach to such critical minefields as the use of bodily fluids in art produces clear and often pungent analyses. Chapters on gender, money and the marketplace, and on the uses and abuses of "primitive" motifs in contemporary art making are models of judicious clarity. And the chapters on the science of perception and the digital revolution display Freeland's equal ease with the vocabularies of scientific research. She can also be tart in her thumb-nail assessments of works (some shown in eight color and 24 b&w plates): '80s painter and filmmaker David Salle "relies on numbingly familiar imagery"; the sainted political artist Hans Haacke is "preachy and boring." But her interest is at all times on explicating issues rather than on rendering facile judgments. If the book suffers from trying to do too much in too small a space, its ambition and usefulness amply justify Freeland's project on its own terms.
Copyright 2001 Cahners Business Information, Inc.
Review
"I know of no work that moves so swiftly and with so sure a footing through the battle zones of art and society today."--Arthur C. Danto
"Profoundly refreshing and satisfying.... Freeland's energetic and engaging voice breezily guides the reader, while employing an astonishing array of examples to illuminate and activate her explications."--Don Bacigalupi, Director, San Diego Museum of Art
"A vibrant study of a complex and contentious field of artistic endeavor and enquiry.... Lucid and thought-provoking."--Murray Smith, University of Kent
"Freeland provides a unique and inclusive view of the past by discussing it from the vantage point of contemporary art."--Lucy R. Lippard, author of Mixed Blessings: New Art in a Multicultural America
About the Author
Cynthia Freeland is Professor of Philosophy at the University of Houston, Texas. Her books include The Naked and the Undead: Evil and the Appeal of Horror, Feminist Interpretations of Aristotle, and Philosophy and Film.
Most helpful customer reviews
22 of 24 people found the following review helpful.
Clear and enjoyable explaination of what makes it 'art'.
By Terri
Is there a more confusing or controversial area of understanding in today's society than determining whether a piece of work is 'art' or 'trash'. This book gives a scholarly, yet eminently readable and enjoyable description of how the question, 'but is it art', can be approached and understood. Beginning with Neanderthal renderings and ending in the digital arena - the changing creative environments and philosophical drivers are explained clearly and compellingly. The authors appropriately timed use of wit keeps one happily reading in an area that could easily get dry and intellectually elitist. I now finally feel that I have some tools to evaluate 'art' for myself.
22 of 25 people found the following review helpful.
Simplistic Introduction
By ljm3764
The author has tacked an immense subject and skims the surface by discussing some of the many different theories of art. Her desire to keep the discussion straightforward and brief results in sometimes heavy-handed simplification (to the point of dumbing down) the ideas she discusses, but the book is still a useful introduction to thinking about art.
I found myself disappointed with the book in a number of ways, and I'll discuss a couple of them here. First, the author has discussed theory by means of examples, and her choices of artists like Goya and Bacon work well, but some of her other choices (Bill Viola, for example) give the book a somewhat dated feel. A second, more significant disappointment, is the author's discussion of museums. A number of her comments seem uninformed and (in one case regarding the Getty) even snarky. The tone of her writing undermines her discussion of important questions such as how museums should balance the goal of showing worthwhile works with the goal of showing works by a representative group of artists. There is a lot of real-world compromise required to get lenders and donors on board so that exhibitions happen, and lenders, donors and exhibition organizers are, in fact, wrestling with these issues daily.
Overall, the book is a good introduction to a number of theories about art, and perhaps it would work as one of the texts to be used in a high school or college survey class. However, anyone with a serious interest in art will be left wanting something more satisfying on a number of levels.
21 of 24 people found the following review helpful.
Good Read, Enjoyable & Insightful
By Phillip C McKee
This was a very interesting book and a good read. However, if you are looking for a primer on art theory, then you need look elsewhere. This gives some insight into the general art theories of the past and today but it isn't organized like a textbook. Instead it has a more meandering structure that makes it more interesting but less instructional. All in all though, I really enjoyed it. The only thing I truly didn't like was that it gave very short shrift to some media that are only the line between craft and art. That would have seemed to be a very good topic for inclusion. But still a good book.
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