ArtPompeii,HouseVII,2,6:PaquiusProculusandhiswife.in,1stcenturyfresco.,LeBainturc(TheTurkishbaths),1862,,September1888.Artistheprocessorproductofdeliberatelyarrangingelementsinawaythatappealstothesensesoremotions.Itencompassesadiverserangeofhumanactivities,creations,andmodesofexpression,includingmusicandliterature.Themeaningofartisexploredinabranchofphilosophyknownas.Thedefinitionandevaluationofarthasbecomeespeciallyproblematicsincetheearly20thcentury.distinguishesthreeapproaches:the,wherebyaestheticqualityisanabsolutevalueindependentofanyhumanview;the,wherebyitisalsoanabsolutevalue,butisdependentongeneralhumanexperience;andthe,wherebyitisnotanabsolutevalue,butdependson,andvarieswith,thehumanexperienceofdifferenthumans.Anobjectmaybecharacterizedbytheintentions,orlackthereof,ofitscreator,regardlessofitsapparentpurpose.Acup,whichostensiblycanbeusedasacontainer,maybeconsideredartifintendedsolelyasanornament,whileapaintingmaybedeemedcraftifmass-produced.Traditionally,thetermartwasusedtorefertoanyskillormastery.Thisconceptionchangedduringtheperiod,whenartcametobeseenas"aspecialfacultyofthehumanmindtobeclassifiedwithreligionandscience".Generally,artismadewiththeintentionofstimulatingthoughtsandemotions.Thenatureofarthasbeendescribedbyas"oneofthemostelusiveofthetraditionalproblemsofhumanculture".Ithasbeendefinedasavehiclefortheexpressionorcommunicationofemotionsandideas,ameansforexploringandappreciatingfortheirownsake,andasor.identifiedartasauseofindirectmeanstocommunicatefromonepersontoanother.andadvancedtheviewthatartexpressesemotions,andthattheworkofartthereforeessentiallyexistsinthemindofthecreator.Thetheoryofartasformhasitsrootsinthephilosophyof,andwasdevelopedintheearlytwentiethcenturybyand.Artasmimesisorrepresentationhasdeeprootsinthephilosophyof.DefinitionofthetermThemostcommonusageoftheword"art,"whichrosetoprominenceafter1750,isunderstoodtodenoteusedtoproduceanresult.definesitas"theuseofskillandimaginationinthecreationofaestheticobjects,environments,orexperiencesthatcanbesharedwithothers."Byanyofthesedefinitionsoftheword,artisticworkshaveexistedforalmostaslongas:fromearlyto;however,sometheoriesrestricttheconcepttomodernWesternsocieties.Muchhasbeenwrittenabouttheconceptof"art".Wheresaidin1970"Itisnowtakenforgrantedthatnothingwhichconcernsartcanbetakenforgrantedanymore[...],",ThefirstandbroadestsenseofartistheonethathasremainedclosesttotheolderLatinmeaning,whichroughlytranslatesto"skill"or"craft,"andalsofromanmeaning"arrangement"or"toarrange".Inthissense,artiswhateverisdescribedashavingundergoneadeliberateprocessofarrangementbyanagent.Afewexampleswherethismeaningprovesverybroadincludeartifact,artificial,artifice,,arts,andarts.However,therearemanyothercolloquialusesoftheword,allwithsomerelationtoits.Thesecondandmorerecentsenseofthewordartisasanabbreviationforcreativeartorfineart.Fineartmeansthataskillisbeingusedtoexpresstheartist’screativity,ortoengagetheaudience’saestheticsensibilities,ortodrawtheaudiencetowardsconsiderationofthefinerthings.Often,iftheskillisbeingusedinacommonorpracticalway,peoplewillconsideritacraftinsteadofart.Likewise,iftheskillisbeingusedinacommercialorindustrialway,itwillbeconsideredinsteadoffineart.Ontheotherhand,craftsandaresometimesconsidered.Someartfollowershavearguedthatthedifferencebetweenfineartandappliedarthasmoretodowithvaluejudgmentsmadeabouttheartthananycleardefinitionaldifference.However,evenfineartoftenhasgoalsbeyondpurecreativityandself-expression.Thepurposeofworksofartmaybetocommunicateideas,suchasinpolitically-,spiritually-,orphilosophically-motivatedart;tocreateasenseof(see);toexplorethenatureofperception;forpleasure;ortogeneratestrong.Thepurposemayalsobeseeminglynonexistent.PaintingbyartistMaLin,c.1250.24,8×25,2cm.Artcandescribeseveralthings:astudyofcreativeskill,aprocessofusingthecreativeskill,aproductofthecreativeskill,ortheaudience’sexperiencewiththecreativeskill.Thecreativearts(artasdiscipline)areacollectionofdisciplines(arts)thatproduceartworks(artasobjects)thatarecompelledbyapersonaldrive(artasactivity)andechoorreflectamessage,mood,orsymbolismfortheviewertointerpret(artasexperience).Artworkscanbedefinedbypurposeful,creativeinterpretationsoflimitlessconceptsorideasinordertocommunicatesomethingtoanotherperson.Artworkscanbeexplicitlymadeforthispurposeorinterpretedbasedonimagesorobjects.Artissomethingthatstimulatesanindividual'sthoughts,emotions,beliefs,orideasthroughthesenses.Itisalsoanexpressionofanideaanditcantakemanydifferentformsandservemanydifferentpurposes.Althoughtheapplicationofscientifictheoriestoderiveanewscientifictheoryinvolvesskillandresultsinthe"creation"ofsomethingnew,thisrepresentsscienceonlyandisnotcategorizedasart.HistoryMainarticle:Sculptures,,rockpaintings,andfromthestartingroughly40,000yearsagohavebeenfound,buttheprecisemeaningofsuchartisoftendisputedbecausesolittleisknownabouttheculturesthatproducedthem.Theoldestartobjectsintheworld:aseriesoftiny,drilledsnailshellsabout75,000yrsold,werediscoveredinaSouthAfricancave.Thegreattraditionsinarthaveafoundationintheartofoneofthegreatancientcivilizations:,,,India,China,AncientGreece,Rome,or(ancientand).Eachofthesecentersofearlycivilizationdevelopedauniqueandcharacteristicstyleintheirart.Becauseofthesizeanddurationthesecivilizations,moreoftheirartworkshavesurvivedandmoreoftheirinfluencehasbeentransmittedtootherculturesandlatertimes.Theyhavealsoprovidedthefirstrecordsofhowartistsworked.Forexample,thisperiodofGreekartsawavenerationofthehumanphysicalformandthedevelopmentofequivalentskillstoshowmusculature,poise,beautyandanatomicallycorrectproportionsInandoftheWesternMiddleAges,artfocusedontheexpressionofBiblicalandnotmaterialtruths,andemphasizedmethodswhichwouldshowthehigherunseengloryofaheavenlyworld,suchastheuseofgoldinthebackgroundofpaintings,orglassinmosaicsorwindows,whichalsopresentedfiguresinidealized,patterned(flat)forms.Thestylizedsignatureofofthewaswrittenin.ItreadsMahmudKhansonofAbdulhamidisforevervictorious.Thewesternsawareturntovaluationofthematerialworld,andtheplaceofhumansinit,andthisparadigmshiftisreflectedinartforms,whichshowthecorporealityofthehumanbody,andthethreedimensionalrealityoflandscape.Landscapeofpinevalley,byartist.Intheeast,'srejectionofledtoemphasisongeometricpatterns,,and.Furthereast,religiondominatedartisticstylesandformstoo.IndiaandTibetsawemphasisonpaintedsculpturesanddancewithreligiouspaintingborrowingmanyconventionsfromsculptureandtendingtobrightcontrastingcolorswithemphasisonoutlines.Chinasawmanyartformsflourish,jadecarving,bronzework,pottery(includingthestunningofEmperorQin),poetry,calligraphy,music,painting,drama,fiction,etc.Chinesestylesvarygreatlyfromeratoeraandaretraditionallynamedaftertherulingdynasty.So,forexample,paintingsaremonochromaticandsparse,emphasizingidealizedlandscapes,butpaintingsarebusy,colorful,andfocusontellingstoriesviasettingandcomposition.Japannamesitsstylesafterimperialdynastiestoo,andalsosawmuchinterplaybetweenthestylesofcalligraphyandpainting.becameimportantinJapanafterthe17thcentury.Thewesterninthe18thcenturysawartisticdepictionsofphysicalandrationalcertaintiesoftheclockworkuniverse,aswellaspoliticallyrevolutionaryvisionsofapost-monarchistworld,suchas’sportrayalofNewtonasadivinegeometer,or’spropagandisticpaintings.Thisledtorejectionsofthisinfavorofpicturesoftheemotionalsideandindividualityofhumans,exemplifiedinthenovelsof.Thelate19thcenturythensawahostofartisticmovements,suchas,,andamongothers.Bythe20thcenturythesepictureswerefallingapart,shatterednotonlybynewdiscoveriesofrelativitybyandofunseenpsychologyby,butalsobyunprecedentedtechnologicaldevelopmentacceleratedbytheimplosionofcivilisationintwoworldwars.Thehistoryoftwentiethcenturyartisanarrativeofendlesspossibilitiesandthesearchfornewstandards,eachbeingtorndowninsuccessionbythenext.Thustheparametersof,,,,,,etccannotbemaintainedverymuchbeyondthetimeoftheirinvention.IncreasinginteractionduringthistimesawanequivalentinfluenceofotherculturesintoWesternart,suchasPabloPicassobeinginfluencedby.Japanesewoodblockprints(whichhadthemselvesbeeninfluencedbyWesternRenaissancedraftsmanship)hadanimmenseinfluenceonImpressionismandsubsequentdevelopment.Later,AfricansculpturesweretakenupbyPicassoandtosomeextentby.Similarly,thewesthashadhugeimpactsonEasternartin19thand20thcentury,withoriginallywesternideaslikeandexertingpowerfulinfluenceonartisticstyles.Modernism,theidealisticsearchfortruth,gavewayinthelatterhalfofthe20thcenturytoarealizationofitsunattainability.wasacceptedasanunavoidabletruth,whichledtotheperiodofand,whereculturesoftheworldandofhistoryareseenaschangingforms,whichcanbeappreciatedanddrawnfromonlywithirony.Furthermoretheseparationofculturesisincreasinglyblurredandsomeargueitisnowmoreappropriatetothinkintermsofaglobalculture,ratherthanregionalcultures.ArttheoriesInthenineteenthcentury,artistswereprimarilyconcernedwithideasofand.Theaesthetictheorist,whochampionedwhathesawasthenaturalismof,sawart'sroleasthecommunicationbyartificeofanessentialtruththatcouldonlybefoundinnature.TheBurningoftheHousesofParliament;,1834Thedefinitionandevaluationofarthasbecomeespeciallyproblematicsincethe20thcentury.distinguishesthreeapproaches:the,wherebyaestheticqualityisanabsolutevalueindependentofanyhumanview;the,wherebyitisalsoanabsolutevalue,butisdependentongeneralhumanexperience;andthe,wherebyitisnotanabsolutevalue,butdependson,andvarieswith,thehumanexperienceofdifferenthumans.Thearrivalofinthelatenineteenthcenturyleadtoaradicalbreakintheconceptionofthefunctionofart,andthenagaininthelatetwentiethcenturywiththeadventof.'s1960article"ModernistPainting"definesModernArtas"theuseofcharacteristicmethodsofadisciplinetocriticizethedisciplineitself".GreenbergoriginallyappliedthisideatotheAbstractExpressionistmovementanduseditasawaytounderstandandjustifyflat(non-illusionistic)abstractpainting:Realistic,naturalisticarthaddissembledthemedium,usingarttoconcealart;modernismusedarttocallattentiontoart.Thelimitationsthatconstitutethemediumofpainting–theflatsurface,theshapeofthesupport,thepropertiesofthepigment—weretreatedbytheOldMastersasnegativefactorsthatcouldbeacknowledgedonlyimplicitlyorindirectly.UnderModernismthesesamelimitationscametoberegardedaspositivefactors,andwereacknowledgedopenly.AfterGreenberg,severalimportantarttheoristsemerged,suchas,,,andamongothers.Thoughonlyoriginallyintendedasawayofunderstandingaspecificsetofartists,Greenberg'sdefinitionofModernArtisimportanttomanyoftheideasofartwithinthevariousartmovementsofthe20thcenturyandearly21stcentury.likebecamebothnoteworthyandinfluentialthroughworkincludingandpossiblycritiquingpopularculture,aswellasthe.Certainradicalartistsofthe1980s,1990s,and2000sexpandedthistechniqueofself-criticismbeyondhigharttoallculturalimage-making,includingfashionimages,comics,billboardsandpornography.PurposeofArtArthashadagreatnumberofdifferentfunctionsthroughoutitshistory,makingitspurposedifficulttoabstractorquantifytoanysingleconcept.ThisdoesnotimplythatthepurposeofArtis"vague",butthatithashadmanyunique,different,reasonsforbeingcreated.SomeofthesefunctionsofArtareprovidedinthefollowingoutline.Thedifferentpurposesofartmaybegroupedaccordingtothosewhicharenon-motivated,andthosewhicharemotivated(Levi-Strauss).Non-MotivatedFunctionsofArtThenon-motivatedpurposesofArtarethosewhichareintegraltobeinghuman,transcendtheindividual,ordonotfulfillaspecificexternalpurpose.Aristotlehassaid,"Imitation,then,isoneinstinctofournature."Inthissense,Art,ascreativity,issomethingwhichhumansmustdobytheirverynature.nootherspeciescreatesart),andisthereforebeyondutility..Artatthislevelisnotanactionoranobject,butaninternalappreciationofbalanceandharmony(beauty),andthereforeanaspectofbeinghumanbeyondutility."Imitation,then,isoneinstinctofournature.Next,thereistheinstinctfor'harmony'andrhythm,metersbeingmanifestlysectionsofrhythm.Persons,therefore,startingwiththisnaturalgiftdevelopedbydegreestheirspecialaptitudes,tilltheirrudeimprovisationsgavebirthtoPoetry."-AristotleExperienceofthemysterious.Artprovidesuswithawaytoexperienceourselvesinrelationtotheuniverse.Thisexperiencemayoftencomeunmotivated,asweappreciateart,musicorpoetry."Themostbeautifulthingwecanexperienceisthemysterious.Itisthesourceofalltrueartandscience."-AlbertEinsteinExpressionoftheimagination.Artprovideameanstoexpresstheimaginationinnon-grammaticwaysthatarenottiedtotheformalityofspokenorwrittenlanguage.Unlikewords,whichcomeinsequencesandeachofwhichhaveadefinitemeaning,artprovidesarangeofforms,symbolsandideaswithmeaningsthataremaleable."Jupiter'seagle[asanexampleofart]isnot,likelogical(aesthetic)attributesofanobject,theconceptofthesublimityandmajestyofcreation,butrathersomethingelse-somethingthatgivestheimaginationanincentivetospreaditsflightoverawholehostofkindredrepresentationsthatprovokemorethoughtthanadmitsofexpressioninaconceptdeterminedbywords.Theyfurnishanaestheticidea,whichservestheaboverationalideaasasubstituteforlogicalpresentation,butwiththeproperfunction,however,ofanimatingthemindbyopeningoutforitaprospectintoafieldofkindredrepresentationsstretchingbeyonditsken."-ImmanuelKantUniversalcommunication.Artallowstheindividualtoexpressthingstowardtheworldasawhole.EarthArtistsoftencreateartinremotelocationsthatwillneverbeexperiencedbyanotherperson.Thepracticeofplacinga,orpileofstonesatthetopofamountain,isanexample.(Note:ThisneednotsuggestaparticularviewofGod,orreligion.)Artcreatedinthiswayisaformofcommunicationbetweentheindividualandtheworldasawhole.Ritualisticandsymbolicfunctions.Inmanycultures,artisusedinrituals,performancesanddancesasadecorationorsymbol.Whiletheseoftenhavenospecificutilitarian(motivated)purpose,anthropologistsknowthattheyoftenserveapurposeatthelevelofmeaningwithinaparticularculture.Thismeaningisnotfurnishedbyanyoneindividual,butisoftentheresultofmanygenerationsofchange,andofacosmologicalrelationshipwithintheculture."Mostscholarswhodealwithrockpaintingsorobjectsrecoveredfromprehistoriccontextsthatcannotbeexplainedinutilitariantermsandarethuscategorizedasdecorative,ritualorsymbolic,areawareofthetrapposedbytheterm'art'."-SilvaTomaskovaMotivatedFunctionsofArtThepurposesofartwhicharemotivatedrefertointentional,consciousactionsonthepartoftheartistsorcreator.Thesemaybetobringaboutpoliticalchange,tocommentonanaspectofsociety,toconveyaspecificemotionormood,toaddresspersonalpsychology,toillustrateanotherdiscipline,to(withcommercialarts)tosellaproduct,orsimplyasaformofcommunication.Communication.Art,atitssimplest,isaformofcommunication.Asmostformsofcommunicationhaveanintentorgoaldirectedtowardanotherindividual,thisisamotivatedpurpose.Illustrativearts,suchasscientificillustration,areaformofartascommunication.Mapsareanotherexample.However,thecontentneednotbescientific.Emotions,moodsandfeelingsarealsocommunicatedthroughart."[Artisasetof]artefactsorimageswithsymbolicmeaningsasameansofcommunication."-SteveMithenArtasEntertainment.Artmayseektobringaboutaparticularemotionormood,forthepurposeofrelaxingorentertainingtheviewer.ThisisoftenthefunctionoftheartindustriesofMotionPicturesandVideoGames.TheAvante-Garde.Artforpoliticalchange.Oneofthedefiningfunctionsofearlytwentiethcenturyarthasbeentousevisualimagestobringaboutpoliticalchange.Theartmovementswhichhadthisgoal-Dadaism,Surrealism,RussianConstructivism,andAbstractExpressionism,amongothers-arecollectivelyreferredtoastheavante-gardearts."Bycontrast,therealisticattitude,inspiredbypositivism,fromSaintThomasAquinastoAnatoleFrance,clearlyseemstometobehostiletoanyintellectualormoraladvancement.Iloatheit,foritismadeupofmediocrity,hate,anddullconceit.Itisthisattitudewhichtodaygivesbirthtotheseridiculousbooks,theseinsultingplays.Itconstantlyfeedsonandderivesstrengthfromthenewspapersandstultifiesbothscienceandartbyassiduouslyflatteringthelowestoftastes;clarityborderingonstupidity,adog’slife."-AndreBreton(Surrealism)Artforpsychologicalandhealingpurposes.Artisalsousedbyarttherapists,psychotherapistsandclinicalpsychologistsas.The,forexample,isusedtodeterminethepersonalityandemotionalfunctioningofapatient.Theendproductisnottheprincipalgoalinthiscase,butratheraprocessofhealing,throughcreativeacts,issought.Theresultantpieceofartworkmayalsoofferinsightintothetroublesexperiencedbythesubjectandmaysuggestsuitableapproachestobeusedinmoreconventionalformsofpsychiatrictherapy.Artforsocialinquiry,subversionand/oranarchy.Whilesimilartoartforpoliticalchange,subversiveordeconstructivistartmayseektoquestionaspectsofsocietywithoutanyspecificpoliticalgoal.Inthiscase,thefunctionofartmaybesimplytocriticizesomeaspectofsociety.onawallinRome.andothertypesofaregraphicsandimagesthatareoronpubliclyviewablewalls,buildings,buses,trains,andbridges,usuallywithoutpermission.Certainartforms,suchasgraffiti,mayalsobeillegalwhentheybreaklaws(inthiscasevandalism).Artforpropaganda,orcommercialism.Artisoftenutilizedasaformof,andthuscanbeusedtosubtlyinfluencepopularconceptionsormood.Inasimilarway,artwhichseekstosellaproductalsoinfluencesmoodandemotion.Inbothcases,thepurposeofarthereistosubtlymanipulatetheviewerintoaparticularemotionalorpsychologicalresponsetowardaparticularideaorobject.Thefunctionsofartdescribedabovearenotmutuallyexclusive,asmanyofthemmayoverlap.Forexample,artforthepurposeofentertainmentmayalsoseektosellaproduct,.themovieorvideogame.Oneofthecentralchallengesofpost-modernart(afterthe1970s),isthatastheworldbecomesincreasinglyutilitarian,functional,andmarket-driven,thepresenceofthenon-motivatedarts,orartwhichisritualisticorsymbolic,becomesincreasinglyrare.ClassificationdisputesMainarticle:Itisnotuncommoninthe,especiallyinrecenttimes,fordisputationtotakeplaceastowhethersomethingisartornot.Suchdisagreementsmaybereferredtoasclassificatorydisputesaboutart.ImageofahorsefromthecavesClassificatorydisputesinthe20thcenturyhaveincludedandpaintings,’s,the,superlativeimitationsof,,and.PhilosopherDavidNovitzhasarguedthatdisagreementaboutthedefinitionofartarerarelytheheartoftheproblem.Rather,"thepassionateconcernsandintereststhathumansvestintheirsociallife"are"somuchapartofallclassificatorydisputesaboutart"(Novitz,1996).AccordingtoNovitz,classificatorydisputesaremoreoftendisputesaboutourvaluesandwherewearetryingtogowithoursocietythantheyareabouttheoryproper.Forexample,whenthecriticized'sand’sworkbyarguing"For1,000yearsarthasbeenoneofourgreatcivilisingforces.Today,pickledsheepandsoiledbedsthreatentomakebarbariansofusall"theyarenotadvancingadefinitionortheoryaboutart,butquestioningthevalueofHirst’sandEmin’swork.In1998,,suggestedathoughtexperimentshowingthat"thestatusofanartifactasworkofartresultsfromtheideasacultureappliestoit,ratherthanitsinherentphysicalorperceptiblequalities.Culturalinterpretation(anarttheoryofsomekind)isthereforeconstitutiveofanobject’sarthood."ControversialartFurtherinformation:'s',c.1820's'(c.1820),wasasocialcommentaryonacurrentevent,unprecedentedatthetime.'s""(1863),wasconsideredscandalousnotbecauseofthewoman,butbecausesheisseatednexttomenfullydressedintheclothingofthetime,ratherthaninrobesoftheantiqueworld.'s""(1884),causedahugeuproaroverthereddishpinkusedtocolorthewoman'searlobe,consideredfartoosuggestiveandsupposedlyruiningthehigh-societymodel'sreputation.Inthetwentiethcentury,'s(1937)usedarrestingtechniquesandstark,todepicttheharrowingconsequencesofacontemporarybombingofasmall,ancientBasquetown.'sInterrogationIII(1981),depictsafemalenude,hoodeddetaineestrappedtoachair,herlegsopentorevealhersexualorgans,surroundedbytwotormentorsdressedineverydayclothing.'s(1989)isaphotographofacrucifix,sacredtotheChristianreligionandrepresenting'ssacrificeandfinalsuffering,submergedinaglassoftheartist'sownurine.TheresultinguproarledtocommentsintheUnitedStatesSenateaboutpublicfundingofthearts.Art,classandvalueVersailles:openeduptheinteriorcourttocreatetheexpansiveentrance,latercopiedalloverEuropeArthasbeenperceivedbysomeasbelongingtosomesocialclassesandoftenexcludingothers.Inthiscontext,artisseenasanupper-classactivityassociatedwithwealth,theabilitytopurchaseart,andtheleisurerequiredtopursueorenjoyit.Forexample,theortheinwiththeirvastcollectionsofart,amassedbythefabulouslywealthyroyaltyofEuropeexemplifythisview.Collectingsuchartisthepreserveoftherich,orofgovernmentsandinstitutions.Fineandexpensivegoodshavebeenpopularmarkersofstatusinmanycultures,andcontinuetobesotoday.Therehasbeenaculturalpushintheotherdirectionsinceatleast1793,whentheLouvre,whichhadbeenaprivatepalaceoftheKingsofFrance,wasopenedtothepublicasanartmuseumduringthe.Mostmodernpublicmuseumsandarteducationprogramsforchildreninschoolscanbetracedbacktothisimpulsetohaveartavailabletoeveryone.MuseumsintheUnitedStatestendtobegiftsfromtheveryrichtothemasses(inNewYorkCity,forexample,wascreatedby,arailroadexecutivewhosepersonalartcollectionseededthemuseum.)Butdespiteallthis,atleastoneoftheimportantfunctionsofartinthe21stcenturyremainsasamarkerofwealthandsocialstatus.Performanceby,1978

:Everyoneanartist—Onthewaytothelibertarianformofthesocialorganism.Therehavebeenattemptsbyartiststocreateartthatcannotbeboughtbythewealthyasastatusobject.Oneoftheprimeoriginalmotivatorsofmuchoftheartofthelate1960sand1970swastocreateartthatcouldnotbeboughtandsold.Itis"necessarytopresentsomethingmorethanmereobjects"saidthemajorpostwarGermanartistJosephBeuys.Thistimeperiodsawtheriseofsuchthingsas,,and.Theideawasthatiftheartworkwasaperformancethatwouldleavenothingbehind,orwassimplyanidea,itcouldnotbeboughtandsold."Democraticpreceptsrevolvingaroundtheideathataworkofartisacommodityimpelledtheaestheticinnovationwhichgerminatedinthemid-1960sandwasreapedthroughoutthe1970s.ArtistsbroadlyidentifiedundertheheadingofConceptualart...substitutingperformanceandpublishingactivitiesforengagementwithboththematerialandmaterialisticconcernsofpaintedorsculpturalform...[have]endeavoredtounderminetheartobjectquaobject."Inthedecadessince,theseideashavebeensomewhatlostastheartmarkethaslearnedtoselllimitededitionDVDsofvideoworks,invitationstoexclusiveperformanceartpieces,andtheobjectsleftoverfromconceptualpieces.Manyoftheseperformancescreateworksthatareonlyunderstoodbytheelitewhohavebeeneducatedastowhyanideaorvideoorpieceofapparentgarbagemaybeconsideredart.Themarkerofstatusbecomesunderstandingtheworkinsteadofnecessarilyowningit,andtheartworkremainsanupper-classactivity."WiththewidespreaduseofDVDrecordingtechnologyintheearly2000s,artists,andthegallerysystemthatderivesitsprofitsfromthesaleofartworks,gainedanimportantmeansofcontrollingthesaleofvideoandcomputerartworksinlimitededitionstocollectors."Forms,genres,mediums,andstylesMainarticle:Thecreativeartsareoftendividedintomorespecificcategoriesthatarerelatedtotheirtechnique,or,suchas,,,or.Unlikescientificfields,artisoneofthefewsubjectsthatisacademi