ART: LIMITS: FLUID NOTIONS

Attempting to define the term art is a task with infinite possibilities. Much like a mathematician, chemist, or physicist, it is possible only to set parameters, and from those limits look at the qualities, characteristics, and actions specific to those limits. History gives us the tools to look back upon cultures, societies, and individuals with the benefit of having information retained in tangible form. From these extant examples, assumptions can be made about meaning in artistic expression.

For millennia humans have demonstrated the need, or desire to create form for expressing and communicating. Without the ability to reenact the moment of these creations, only assumptions can be made regarding their true purpose. Tools, and language are often considered the earliest expressions of the human psyche. Painting, drawing, sculpture, and ceramics give us clues about these early mark-making processes. By examining art forms we extrapolate meaning.

We see how artists reflect their unique relation to life; sometimes creating a fantasy world of personal expression separate from the society in which they live; sometimes working collectively to find new methods of expression. In contemporary society artists have access to technology, marketing, and an array of tools helping them disseminate information at a previously unknown and unprecedented pace and scale. The speed of information processing provides the artist with powerful tools. Advertising, print publication, museums, galleries, and the internet all contribute to this proliferation of ideas through art.

To define art, as stated previously, it is possible only to look at limits. The time during which an artist lives is an indicator, helping to define the social, political, economic, spiritual, and technological elements contributing to the artist's life. With these factors we can look deep into the artist's experience. The unique psyche gives us insight into the reasoning for an artist's work. Some persons live within normal prescribed limits of the human imagination. Others are carried through life in a maelstrom of psychological angst. Some are driven by clinically defined schizophrenia, or manic depression where the artist is confined to an imaginary world visible through tangible forms created by the artist. All of these artistic expressions show us a glimpse of the inner workings of the human organism.

The artist's intent comes to life when a viewer forms a relationship with the work. In this instance the viewer brings forth his or her life experience, forming a new experience, a new transition of the original idea created by the artist. Thus, the art lives on in a new unique space within the viewers mind.

Art historians, critics, philosophers, collectors, and artists have coined phrases, titles, and terms defining moments and characteristics of human artistic production. Some of these are: Jomon, Hongshan, Archaic, Classical, Expressionist, Impressionist, Abstract, Minoan, Post-Modern, Art Nouveau, Baroque, Gothic, Graffiti, Fluxus, Dada, Surrealism, Folk Art, Earthworks, Environments, Conceptual, Fauvism, Cubism, etc.

Advertising, craft, art: all of these words, and more, define some aspect of true art. Where do we draw the line between these terms? What is the point of demarcation? What are the boundaries? These are questions that help to refine an understanding of art.

After considering the preceding ideas, if we think of the parameters of art as algorithms, it becomes apparent that infinite possibilities exist in defining the term: art. There is no single definition for art, but only a fluid notion dependent upon the limits set by examination at any given moment.

 

David Kastner

2007