- Paperback: 88 pages
- Publisher: Hodder Arnold (31 May 2002)
- Language English
- ISBN-10: 0340848375
- ISBN-13: 978-0340848371
- Product Dimensions: 19 x 12.8 x 1 cm
- Amazon Bestsellers Rank: 617,803 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Product Description
Product Description
Art seems to be more popular and fashionable today than ever before. At the same time, art is changing, and much contemporary work does not fit into the categories of the past. Is "conceptual" work art at all? Should artists learn a traditional craft before their work is considered valuable? Can we learn to love art or must we take it or leave it? These questions and more are discussed in six essays from people on different sides of the debate. In this text, contrasting approaches to this topical and contentious question are presented by various specialists on the subject. The Institute of Idea's mission is to expand the boundaries of public debate through organizing conferences, discussions and salons, and publishing written conversations and exchanges in a hope to play a part in shaking up a culture that seems to shy away more and more from confrontation and the clash of ideas. This series aims to present thought-provoking arguments.
About the Author
David Lee, art critic and editor of 'The Jackdaw'. Ricardo P. Floodsky, editor of artrumour.com. Andrew McIlroy, an international advisor on cultural policy. Sacha Craddock, an art teacher and critic. Pavel Buchler, Professor of Art and Design at Manchester Metropolitan University. Aiden Campbell, art critic and author.
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4.0 out of 5 stars (1 customer review)
4.0 out of 5 stars
Easy to read, makes you think., 12 April 2007
By Ms. Kirsty L. Collins "Kirstybookworm" - Published on Amazon.com
This review is from: Art: What is it Good For? (Debating Matters) (Paperback)
This is a short book.
Essays are as follows;
1, What is art anyway ?, 2, Art: What's it all about then?, 3, Somebody's got to do it, 4, Serving a different god, 5, Art: agent or aesthetic?, 6, Reinventing the wheel.
This book is based on a great premise of making the 'what is art for?' debate simple and concise as possible. Although it's a pity it's not discussed by other critic's in the larger western world, etc (it's quite Brit-centric). For example the contemporary art market is unfortunately much smaller and more conservative in Australia. Although we have some very exciting artists here (often having to sell O/S to make a living).
Sadly to get more people to look or think about art we are going to have to make it a competitive sport where men can slug each other in tight shorts on TV.
Cheers Kirsty.
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