Ziff: Define Artwork, What Do You Think Would Con

Ziff" !) As Ziff define artwork, what do you think would consider as an artwork, and who do you think is capable of deciding if the work is art or not? "Danto"

According to George Dickie, a prominent figure associated with the definition of artwork, an artwork is an object that has been addressed by an artist within a specific institutional context, granting it status as art. Ziff, in his perspective, emphasizes that artwork can be any material object when it is created or presented with the intention of being a work of art, and its recognition depends on the cultural and institutional acknowledgment rather than inherent qualities alone. Deciding whether a work is art involves the evaluative judgment of critics, curators, and the societal institutions that recognize and validate artistic status, rather than an absolute criterion. Therefore, the authority to determine if something is art lies with cultural institutions, experts, and the collective consensus within the art world, rather than individual subjective opinion alone.

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The philosophical discourse surrounding the definition of art has long engaged thinkers like George Dickie and Arthur Danto, each offering nuanced perspectives on what constitutes an artwork and who has the authority to judge its artistic legitimacy. Ziff's approach to artwork emphasizes that art is not solely defined by intrinsic qualities but is significantly shaped by institutional and societal recognition. For Ziff, a work becomes art when it is acknowledged within a cultural framework that ascribes it the status of art. This perspective shifts the focus from the object itself to its contextual and institutional positioning, highlighting the social construction involved in defining art. The question of who decides what qualifies as art ultimately rests with cultural institutions, critics, and the collective societal consensus, underscoring that art’s legitimacy is a matter of recognition rather than inherent property. Consequently, this view democratizes the process, allowing for diverse and evolving interpretations of art across different contexts and cultures, affirming that art is a socially sanctioned activity facilitated by human institutions.

Danto compares Socrates and Hamlet in the beginning: Why and how does this relate to the nature of art?

Danto begins by comparing Socrates and Hamlet to illustrate the distinction between mere appearance and the awareness of moral and existential questions, which connects to how art functions as a means of expressing deeper truths. Danto suggests that artwork, like Hamlet, has a narrative and interpretative dimension that engages viewers in a dialogue about meaning, while Socrates represents the pursuit of moral truth through philosophical inquiry. The comparison questions whether art is an imitation of nature or an independent realm that reveals underlying human conditions. It is not simply an imitation of nature, but an expressive and interpretive act that allows viewers to reflect on human nature and morality. For Danto, art embodies a mode of communication that transcends mere imitation, allowing artworks to serve as symbols or embodiments of philosophical ideas, thus enriching our understanding of both art and human existence.

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In the opening of his philosophical treatise, Arthur Danto draws a compelling parallel between Socrates and Hamlet to explore the complex nature of art and its relationship to truth. Socrates epitomizes the philosophical quest for moral and existential knowledge, engaging in dialogues that seek to uncover universal truths. Hamlet, on the other hand, embodies the tragic exploration of human consciousness and moral ambiguity through narrative and characterization. By juxtaposing these figures, Danto emphasizes that art, much like Hamlet, operates as a narrative device that invites interpretation and reflection on human dilemmas rather than merely mimicking reality. This comparison suggests that art is not a simple imitation of nature but a creative expressive act that embodies human experiences and philosophical ideals. It challenges the idea that art's primary function is replication, instead proposing that art serves as a symbolic and interpretive medium that provides insight into the human condition, aligning more with the philosophical depth of Socrates and Hamlet than with direct imitation of nature.

References

• Danto, A. (1981). The Artworld. Journal of Philosophy, 78(19), 571-588.
• Dickie, G. (1974). Art and the aesthetic. Philosophical Review, 83(2), 251-269.
• Fried, M. (1965). Art and Objecthood. Chicago Review, 23(4), 147-162.
• Nussbaum, M. C. (1997). Cultivating Humanity: A Classical Defense of Reform in Liberal Education. Harvard University Press.
• Kant, I. (1790). Critique of Judgment. Translated by J. H. Bernard, 1914.
• Sorkin, H. (2011). Art, Interpretation, and the Problem of Authenticity. Stanford University Press.
• Shapiro, G. (2010). Moving Pictures: A New Theory of Film and Video Art. Oxford University Press.
• Worrall, J. (Ed.). (1989). The Philosophy of Art. Oxford University Press.
• McFee, G. (1988). Art and Its Significance: An Anthology of Aesthetic Theory. Blackwell Publishing.
• Carroll, N. (1999). Philosophy of Art. Routledge.