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Art in the Ancient World
Introduction
A U G G U S T I I N N E E C O L L E G G E
Art in the Ancient World Introduction A U G G U S T I I N N E E - - PowerPoint PPT Presentation
Art in the Ancient World Introduction A U G G U S T I I N N E E - - PowerPoint PPT Presentation
Art in the Ancient World Introduction A U G G U S T I I N N E E C O L L E G G E C Art that gets to you 2 A general question relevant to this: How do I find what has most to do with me? (a) The significance of this
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Tran sl at i on of a 1 6 t h - C work by LORE NZO SCUPOLI
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“When you see a thing with
your eyes, or visualise it in your
mind, keep a firm grip on your desires and do not allow
yourself at the first glance either to conceive a liking for the thing or a dislike for it, but
examine it in a detached way with the mind alone.”
SCUPOL I, 9 1
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“Unobscured by passion, the mind then … is free and pure, and has the possibility to know
the truth and to penetrate into
the depths of a thing, where
evil is often concealed under a deceptively attractive exterior
and where good is sometimes
hidden under a bad appearance.”
SCUPOL I, 9 1
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“But if desire comes first and at
- nce either likes a thing or turns
away from it, your mind no longer has the possibility to know it…. For if this predisposition,
- r rather this passion precedes
every judgment it enters within, [it] becomes a wall between the mind and the thing … obscuring the mind.”
SCUPOL I, 9 1
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2 A general question
relevant to this:
‘How do I find what has most to do with me?’ (a) The significance of this question (b) The role of taste (c) Is taste an impediment in that search?
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2 A general question:
‘How do I find what has most to do with me?’ (a) The significance of this question (b) The role of taste (c) Is taste an impediment in that search? (d) How the present culture leads you to suppose that ‘what has most to do with you’ has very little to do with art
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Hypothesis Cultural amnesia regarding art
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“Your life, no less than
your body, may suffer disease.”
D E M O C R I T U S ,
5 TH - C BC
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II The idea of the ‘right view of art’
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‘How dare anyone tell me what I should listen to!’
1 We are all free
to enjoy whatever we like
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2 What are your criteria;
what qualities make a thing fit to listen to or to watch? ‘How dare anyone tell me what I should listen to!’
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II The idea of the ‘right view of art’
B Which position do you hold & why?
Guidance from Scripture
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2 If we are not free, what are our criteria;
what qualities make a thing fit to listen to or to watch?
1 Are we all free
to enjoy whatever we like?
In the realm of culture
A RT, M U S I C , F I C T I O N , E N T E RTA I N M E N T
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“Finally, brothers, whatever is true, whatever is honorable, whatever is just, whatever is pure, whatever is lovely, whatever is commendable, if there is any excellence, if there is anything worthy of praise, think about these things”
PHI LI PPI ANS 4 : 8 E SV
λογίζεσθε
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II The idea of the ‘right view of art’
C Application of these views: some contemporary art
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2 If we are not free, what are our criteria;
what qualities make a thing fit to listen to or to watch?
1 Are we all free
to enjoy whatever we like?
In the realm of culture
A RT, M U S I C , F I C T I O N , E N T E RTA I N M E N T
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The Lights Going On and Off 2000 | Martin CREED
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The Lights Going On and Off 2000 | Martin CREED
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My Bed
Tracey EMIN Installation in the Turner Prize Exhibition, Tate Britain, London, 2000
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Three Ball Total- Equilibrium Tank: Two Dr. J Silver Series, Spalding NBA Tip-Off
1985 | Jeff KOONS Tank with basketballs suspended in water
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Myra
1997 | Marcus HARVEY
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Life magazine, 1966
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Rama Lama Ding Dong
2006 | Dan COLEN
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Untitled (Leonardo and His Five Grotesque Heads)
1983 Jean-Michel BASQUIAT
- il on canvas
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If You Can Dream It, You Must Do It
2003 Mark TITCHNER
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Away from the Flock
1994 | Damien HIRST
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Untitled
2005 | Shary BOYLE
Untitled
2006 | Shary BOYLE
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Ectopic Pregnancy
2005 | Wangechi MUTU
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Mommy Loves Daddy
2006 | David Ben WHITE
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Miss ko2
2011 | Takashi MURAKAMI
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Sno-bo
1999 | John CURRIN
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The Stockbroker
2002 | George CONDO
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Skinny Jim
2009 | George CONDO
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Country Nurse
2003 | Richard PRINCE
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I’m Dead
2007 | David SHRIGLEY
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Monkey Train (Birds)
2007 | Jeff KOONS
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Untitled
Maurizio CATTELAN 2009
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1 This IS art; but you don’t like it 2 Liking or disliking is not the issue:
this is NOT art 3 Liking or disliking is not the issue: this MAY BE art: but it is NOT art by a Christian standard
4 This IS art & you mostly like it
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K I R G H I Z S T A N
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TASTE is a matter of HABITUATION
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This is good for him and bad for me.
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A P R O P O S A L
Good & bad in art is a matter of TASTE, which is simply a matter of HABITUATION
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Three Ball Total- Equilibrium Tank: Two Dr. J Silver Series, Spalding NBA Tip-Off
1985 | Jeff KOONS Tank with basketballs suspended in water
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Untitled # 175
1987 | Cindy SHERMAN
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A P R O P O S A L
Good & bad in art is a matter of TASTE, which is simply a matter of HABITUATION
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Daddy, Daddy
Maurizio CATTELAN | 2008
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Two reasons why good & bad in art does not seem to be a matter of taste:
1 Likes & dislikes in art (but not in food) can be a challenge to understanding 2 You have the desire to ‘correct’ the
judgement of the person who likes
what is bad, dislikes what is good, in art - since there seem to be important
principles at issue
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Or, to put it differently:
There is no ‘moral’ good & bad in food, but only good/bad for me
(good/bad relative to a habituation that I had but you didn’t - & don’t have to have)
There seems to be ‘moral’ good & bad in art, as liking what is bad raises issues
- f what is good for human beings in