Art Theory: A Very Short Introduction Chapter 2 Reading Assignment

In this chapter of “Art Theory: A Very Short Introduction” author Cynthia Freeland talks about how certain areas of art have progressed and can be compared to each other over the ages. Cynthia talks about ‘Tragedy and imitation’ and how they’re linked by how humans imitate experiences through rendering tragedy in art form. She referenced the play Oedipus the King by Sophocles, a horrific story that ultimately ends in Medea riding away in a luxurious chariot even after she deliberately murdered her own children. In ancient times these tragic plays and imitations were highly supported and the audience was mandated to attend. There was a lot of emphasis on creating these dramatic events that eventually were imitated throughout history. The idea of flesh melting and blood being spilled has been done over and over again in hollywood for horror and action movies. The thrill is something we as humans are morbidly curious about, and thus we continue to make graphic media and art. Cynthia touches on Cathedrals and Medieval aesthetics and the purposes for the architecture and design in cathedrals. Other than architectural and engineering purposes, the stained glass windows and flying buttresses had more purpose to them than to be practical. Having a cathedral with a wide open nave (center isle) with a lot of stained glass windows meant that this cathedral was very sacred. Having more light inside meant that they were getting closer to heaven in the house of God. Taller the better meant that you were physically getting closer to heaven. In the last part of the chapter, Cynthia talks about Andy Warhol’s Brillo Boxes and Philosopher Arthur Danto’s thoughts on why these ordinary objects are art. The definition of art has expanded a lot over the course of history. A lot more things can be considered art, but the qualifications of art are still on uneven ground. These days art isn’t just about beauty and elegance related to luxury, shocking art like Damien Hirst’s In His Infinite Wisdom can be considered art now.

Cynthia’s claims in this chapter are what I believe to be about purpose of art over the ages. Starting with the imitation of tragedy in 300 BCE, the purpose for imitating shocking stories and relaying horrific experiences was because humans are morbidly curious and gravitate towards that even at an early age. In cathedrals and holy sites, the purpose in the design of the cathedrals was because people who followed in a religious faith wanted to come closer to heaven and their God. Arthur Danto pondered what purpose Andy Warhol’s Brillo Boxes served to another viewer. Maybe the assortment of boxes never needed to serve one.

I was very intrigued by the quote “Art doesn’t have to be a play, a painting, garden, temple, cathedral or opera. It doesn’t have to be beautiful or moral.” (Cynthia, Page 39) This quote grabbed my attention halfly because I agree with it, but also because it’s a very thought provoking quote too. Art doesn’t have to be moral, maybe it should in the context of appealing to the audience. The adjectives that she uses to describe what art doesn’t have to be can be skewed depending on the context. By this definition, art doesn’t even have to be anything. It doesn’t have to be good and it doesn’t have to be bad.

Some things that have came into my mind since reading this is how far will art go in the next 20 years? As in what will be considered art. Will it keep progressing to become more abstract and or minimalist? Or values have changed significantly over the course of history which has led to the outcome of very different art and issues being expressed through art. What values will we cultivate in the next 20 years and what will we imitate from the past?

Freeland, Cynthia A. "Chapter 2: Paradigms and Purposes." Art Theory: A Very Short Introduction. Oxford: Oxford UP, 2003. 20-39. Print.

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