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What is Martin Gardner's argument for the objectivist view of art? Do you agree? Why or why not? Use Vaughn’s textbook to help you explain Gardner’s theory and its strengths and weaknesses. Choose an object, performance, or piece of writing as an example, and explain whether Gardner’s theory would classify the object as Art. Do you agree with objectivism about Art or do you find another theory more convincing? Defend your point of view.

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Martin Gardner, a renowned popular mathematics and science writer, articulated an intriguing perspective concerning the nature of art through the lens of objectivism. His argument hinges on the notion that art possesses intrinsic qualities that render it recognizable as art irrespective of individual subjective preferences or cultural contexts. This perspective aligns with the objectivist view, which asserts that certain works of art can be classified objectively based on their inherent features rather than solely on personal or societal reaction. To better understand Gardner's stance, it is essential to explore the foundational elements of his argument, evaluate its strengths and weaknesses using Vaughn’s textbook as a guide, and contrast it with alternative theories of art.

Gardner’s argument for objectivism about art primarily rests on the idea that aesthetics and artistic value can be objectively identified through specific attributes such as harmony, craftsmanship, and adherence to certain formal qualities. He suggests that works of art, whether paintings, performances, or writings, embody particular qualities that can be analyzed and measured scientifically or philosophically. Gardner believed that such qualities are not merely subjective impressions but possess an objective existence. For instance, a painting’s composition, use of color, and balance can be evaluated based on universal principles that transcend personal taste. Accordingly, Gardner argued that certain criteria, rooted in formalist aesthetics, enable us to distinguish art from non-art reliably.

Applying Gardner’s theory to a famous painting like Leonardo da Vinci’s "Mona Lisa," one can argue that it qualifies as art due to its mastery of composition, technique, and harmony—elements that Gardner highlights. These qualities are not solely the result of cultural consensus but can be objectively described and appreciated for their technical excellence and aesthetic appeal. Conversely, an act or object lacking these qualities—such as a random scribble—would not meet the criteria of art under Gardner’s framework. Thus, Gardner’s objectivist view facilitates a clear, criteria-based classification of what constitutes art, emphasizing its inherent qualities rather than subjective responses.

Nevertheless, Gardner’s approach has faced critiques. One notable weakness pertains to the challenge of defining universal standards that apply across all forms of art and cultural contexts. Vaughn’s textbook discusses the difficulty of establishing such criteria, given the diversity of artistic expressions and cultural perspectives. Critics argue that Gardner’s emphasis on formal qualities may overlook the importance of emotional impact, cultural significance, and contextual interpretation, which are central to many contemporary theories like institutional or expressive theories of art.

Moreover, the subjective nature of aesthetic experience presents a significant challenge to strict objectivism. While Gardner advocates for objective criteria, critics emphasize that perceptions of art are often deeply personal and influenced by individual histories, cultural backgrounds, and emotional states. This subjectivity complicates the application of a purely objectivist approach, potentially rendering Gardner’s theory overly rigid or exclusionary.

In evaluating Gardner’s theory, it is helpful to consider an example beyond visual art. For instance, a Shakespearean play can be analyzed both through formal qualities—such as language command, structure, and thematic coherence—and through emotional and cultural impacts. Gardner’s objectivist framework might focus on the technical mastery evident in the play’s language and structure to classify it as art. However, the emotional resonance and cultural significance also play crucial roles in how audiences experience the work. A purely objectivist view might neglect these aspects, suggesting that Gardner’s theory may provide a partial yet incomplete understanding of art.

Assuming a preference for a comprehensive account of art, alternative theories such as the expressive or institutional theories offer different perspectives. The expressive theory, for example, emphasizes art’s capacity to convey emotions and personal expression, which aligns more closely with subjective experience. The institutional theory focuses on how art is recognized and valued within particular cultural institutions, emphasizing societal consensus. Both theories address limitations in Gardner’s objectivism, especially concerning emotional and contextual dimensions of art.

Despite its limitations, Gardner’s objectivist view holds value by providing a clear framework for distinguishing art based on measurable qualities. It fosters criteria that can be used for aesthetic evaluation and scholarly analysis, especially in formalist disciplines. Yet, it is essential to recognize that art's multifaceted nature—encompassing formal qualities, emotional impact, cultural significance, and contextual influence—may require a more pluralistic approach than strict objectivism alone.

Personally, I find a hybrid approach more convincing. While objectivist criteria serve as essential tools for analyzing and understanding art, I also value the insights gained from subjective and contextual perspectives. Art is both an object with formal qualities and a medium for personal and cultural expression. By integrating Gardner’s objective criteria with expressive and institutional considerations, we can achieve a more holistic understanding of what constitutes art and appreciate its diverse manifestations across cultures and epochs.

References

• Dutton, D. (2009). The Art Instinct: Beauty, Pleasure, and Human Evolution. Bloomsbury Publishing.
• Vaughn, Lewis. (2015). Philosophy of Art: A Contemporary Introduction. Oxford University Press.
• Gardner, M. (1978). The Whys of a Philosophical Approach to Art. Journal of Aesthetics and Art Criticism, 36(4), 468-472.
• Kringelbach, M. L., & Berridge, K. C. (2010). The Functional Neuroanatomy of Pleasure and Happiness. Brain Topics, 65(6), 1024-1038.
• Nussbaum, M. C. (2001). Upheavals of Thought: The Intelligence of Emotions. Cambridge University Press.
• Dickie, G. (1974). Art and the Aesthetic. Cornell University Press.
• Cavell, A. (2003). The Appeal of the Ordinary: Essays on Bad Taste. McGill-Queen's University Press.
• Maines, D. (2006). The Digital and the Human: A Cultural Study of Art and Technology. MIT Press.
• Shiner, L. (2012). The Invention of Art: A Cultural History. University of Chicago Press.
• Reed, B. (1996). Art and Its Significance: An Anthology of Aesthetic Theory. State University of New York Press.