Artworks are a form of expression that can convey ideas or emotions. They may be used to express religious, spiritual or philosophical beliefs; to inspire others; to give pleasure or beauty; or to communicate a message. The concept of art is explored in a branch of philosophy known as aesthetics and the practice and appreciation of artworks are studied in the fields of art history and art criticism.
Traditionally, what art was and how it was valued were largely culturally determined. Many cultures have artistic traditions and ritualistic uses for artworks. These functions are usually symbolic and have no practical utilitarian function, but can also be used to establish or further social bonds in a culture. Artworks have been created for a variety of purposes throughout human history, from the humblest representation of a natural scene to the most refined of abstract compositions.
The definition of art has been a subject of considerable debate, with different philosophers proposing different criteria for its evaluation. For example, Hegel argued that the beauty of an artwork is a sensuous/perceptual appearance of absolute truth—that it conveys, through its visual or perceptual properties, the deepest metaphysical reality. Others argue that artworks can be valuable because they offer a new contemplation of certain states of affairs, such as the ethical and moral domain (Diffey). A number of other scholars, including Thomson-Jones, believe that neo-cognitivism, as an alternative to traditional cognitivism, offers the most promising path forward.
Contemporary artworks often push back against the boundaries of traditional artistic values and standards, for instance, by incorporating political commentary or criticism. Such works are sometimes referred to as socially engaged art, or relational aesthetics. The artist Rirkrit Tiravanija, for instance, curated an exhibition that included his work of constructing makeshift kitchens in galleries and museums to serve Thai food to visitors and staff.
Another argument, less common today than in the heyday of extreme Wittgensteinianism, is that most definitions of art incorporate or presuppose a framework that utilizes traditional metaphysics and epistemology—and that this is a mistake. Wittgensteinian critics argue that this leads to a “definition-evaluation parallelism” that cannot account for the fact that some artworks can be bad, or have negative value.
In other cases, a work’s purpose is more explicitly political or social, and therefore it can be considered to have social value. For example, many artists use their work to raise awareness for a variety of social issues, such as autism, cancer, and pollution. Marina DeBris’ practice of “trashion,” in which she makes wearables out of trash, is one way to raise awareness about environmental issues. Other artists use their work to raise awareness about human rights, AIDS, and homicide. These types of socially conscious artworks are generally referred to as activist art. For these reasons, the social value of art has become a significant factor in its valuation. In addition to this, creating through art teaches fine motor skills, promotes neural development, and improves visual-spatial processing—all of which are important for academic achievement, especially in reading, writing, math, science, and other subjects.