The long tradition of art history has accustomed us to identify with the artist Michelangelo and his ilk, painters, sculptors, therefore, or at most. In recent decades, however, the rapid succession of multiple languages \u200b\u200bin the works of art has forced us to deal with a figure of the artist who is quite another thing. So what is the artist today?
Attending a Biennale or simply cross the threshold of a museum of contemporary art confronts us with situations, events, performances and installations which are no longer limited to oil paintings or tempera so easily recognizable. The same category of art is increasingly defined as within it collects all human knowledge, mixing and thinning out the edges.
Yves Michaud is sought in this regard: if a work like Duchamp's bottle rack had been proposed by a merchant of articles from the cellar or a plumber, he could assert the same effectiveness? That is, the works have an artistic nature that is independent from the author or is simply a matter of all brands?
Under present circumstances, be an artist more or less capable of no importance. All that rule the art market today is a delicate balance between artists, agents, sponsors, advertisers, dealers, curators, critics and dealers.
not in the past this has never happened. The art world has always been an Olympus golden very selective in which men of free thought demanded to be admitted. The grouping of those who have defined the "fine art", art that is considered noble, did, indeed, continues under a reclassification of the many battles that artists of different eras have led to their emancipation.
Michaud writes:
the light of an art as a category from the weak state and then the amorphous boundaries, what it means to be an artist today? Who can acquire this title? What elements determine the status of a legitimate artist and who?
on these and other questions was born the following study, which aims to unravel the evolution of the trade from its origins as an artist in the world today, seeking not only to reconstruct history but to provide the critical elements to expose the contradictions, and a better frame category that has the habit (or the value?) often escape any classification.
First, the term
Taking up the matter to the origins of Western art, or the greek world, the term "artist" does not exist.
In fact in Greece is not even contemplated a single term that encompasses our modern concept of "art." He speaks at most as techne or know-how poiesis how to make creative and so there is even a distinction between craftsmen and artists. They are both relegated to the same level in the bands most humble of society. Or rather, there is a difference in prestige, but on the contrary to what one might think, to the detriment of the artist, within a philosophy antimimetica.
Similarly the 'ars Latin means very extensive skill acquired through study or practice. In the first case, ars is opposed to nature and ingenium. In the case of skill acquired through practice, is opposed to scientia. Nothing to do with the derivation semantics so that will do the modern term "art."
The social status of the artist-craftsman takes to the Middle Ages. Around the fourteenth century spread to France for the artist ouvrier term, which literally means the worker, who works in the system of "arts mechanical. " In the same century with artists , derived from French word ' Latin ars, it designates a student or faculty of magister Artes, or of letters and philosophy. Later in the sixteenth century, the term acquired a meaning alchemical evolve, or become just who performs chemical.
When painters and sculptors, in the sixteenth century in Italy and France in the mid-seventeenth century, began to demand social recognition emancipated from corporations and setting up the academies, officially adopt the term "artist" to be defined and distinguished from the workers and craftsmen. Social recognition however, will require a long gestation, and only we have the consecration in 1762 with the official dictionary of the Académie Française, which differs for the first time the words "artisan" and "artist", defining it as "a condition of a parent 'art in which they must help the genius and the hand. "
Attending a Biennale or simply cross the threshold of a museum of contemporary art confronts us with situations, events, performances and installations which are no longer limited to oil paintings or tempera so easily recognizable. The same category of art is increasingly defined as within it collects all human knowledge, mixing and thinning out the edges.
Yves Michaud is sought in this regard: if a work like Duchamp's bottle rack had been proposed by a merchant of articles from the cellar or a plumber, he could assert the same effectiveness? That is, the works have an artistic nature that is independent from the author or is simply a matter of all brands?
Under present circumstances, be an artist more or less capable of no importance. All that rule the art market today is a delicate balance between artists, agents, sponsors, advertisers, dealers, curators, critics and dealers.
not in the past this has never happened. The art world has always been an Olympus golden very selective in which men of free thought demanded to be admitted. The grouping of those who have defined the "fine art", art that is considered noble, did, indeed, continues under a reclassification of the many battles that artists of different eras have led to their emancipation.
Michaud writes:
Arts [...] have come one after the other in view of the art world recognized. Where this has not yet occurred, is lobbying hard to achieve the goal.
the light of an art as a category from the weak state and then the amorphous boundaries, what it means to be an artist today? Who can acquire this title? What elements determine the status of a legitimate artist and who?
on these and other questions was born the following study, which aims to unravel the evolution of the trade from its origins as an artist in the world today, seeking not only to reconstruct history but to provide the critical elements to expose the contradictions, and a better frame category that has the habit (or the value?) often escape any classification.
First, the term
Taking up the matter to the origins of Western art, or the greek world, the term "artist" does not exist.
In fact in Greece is not even contemplated a single term that encompasses our modern concept of "art." He speaks at most as techne or know-how poiesis how to make creative and so there is even a distinction between craftsmen and artists. They are both relegated to the same level in the bands most humble of society. Or rather, there is a difference in prestige, but on the contrary to what one might think, to the detriment of the artist, within a philosophy antimimetica.
Similarly the 'ars Latin means very extensive skill acquired through study or practice. In the first case, ars is opposed to nature and ingenium. In the case of skill acquired through practice, is opposed to scientia. Nothing to do with the derivation semantics so that will do the modern term "art."
The social status of the artist-craftsman takes to the Middle Ages. Around the fourteenth century spread to France for the artist ouvrier term, which literally means the worker, who works in the system of "arts mechanical. " In the same century with artists , derived from French word ' Latin ars, it designates a student or faculty of magister Artes, or of letters and philosophy. Later in the sixteenth century, the term acquired a meaning alchemical evolve, or become just who performs chemical.
When painters and sculptors, in the sixteenth century in Italy and France in the mid-seventeenth century, began to demand social recognition emancipated from corporations and setting up the academies, officially adopt the term "artist" to be defined and distinguished from the workers and craftsmen. Social recognition however, will require a long gestation, and only we have the consecration in 1762 with the official dictionary of the Académie Française, which differs for the first time the words "artisan" and "artist", defining it as "a condition of a parent 'art in which they must help the genius and the hand. "
