Artworks of all kinds are not all created equally. They are a hybrid of social and institutional forms, and are characterized by a variety of characteristics. Among these characteristics are aesthetic value, style, subject, and art historical context. This article considers each of these features separately. It argues that the underlying qualities of artworks are crucial for evaluating the quality of art.
The book offers an original answer to the most important questions in aesthetics. It covers many of the key issues of contemporary analytic aesthetics, and discusses the work of major and minor figures in the field, including Stanley Fish, Joseph Margolis, and Richard Rorty. Ultimately, the text shows that art is subjective and should be interpreted according to the artist’s personal views and values.
In addition, the study of art can help us understand why we enjoy certain types of artworks. Aesthetics is an important study of art appreciation, but it is tricky because there are many different types of artworks. Thus, it is hard to categorize and judge each piece of art. Aesthetics starts with defining what an artwork is, a question that has many answers, depending on the theory used.
Artwork can be created in different ways, ranging from free-standing sculptures to those made in relief. The sculptural process can include modeling, casting, assembling, or carving. Relief sculptures are often free-standing, although some are also built in relief. Mount Rushmore and Christ the Redeemer are two famous examples of relief sculpture. In addition, sculptures can be made of found objects or can be made from clay.
The definition of an artwork is usually based on a similarity with a different type of art. However, this view does not provide a clearer explanation of why a particular piece is included in the class. A more accurate definition would be one that allows us to categorize objects by resemblance with a particular type of art.
Kristeller’s 1951 definition of art is less self-contained and freestanding than the ones that were used in the eighteenth century. It combines many overlapping features, and the definition is based on historical understandings of art. Its key theoretical components are incredibly complex and difficult to understand in isolation.
Similarly, the definition of an artwork by an earlier cluster theorist refers to all art forms, and he cites a list of seven properties of art. These seven qualities, however, are not sufficient or necessary to identify an artwork as such. While the list is not exhaustive, it emphasizes the motley heterogeneity of the class. It also claims that art is about aesthetic value.