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بررسی و تحلیل هنر خودآموختگان و زمینه های ورود آن به دنیای هنر بر مبنای آراء آرتوردانتو | ||
| مبانی نظری هنرهای تجسمی | ||
| مقاله 5، دوره 5، شماره 2 - شماره پیاپی 10، بهمن 1399، صفحه 56-64 اصل مقاله (1.05 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2021.31471.1192 | ||
| نویسندگان | ||
| مرجان مرتضوی1؛ زهرا پاکزاد* 2؛ منصور حسامی کرمانی3 | ||
| 1دانشجوی دکتری، گروه پژوهش هنر، دانشکده هنر، دانشگاه الزهراء(س)، تهران | ||
| 2استادیار، گروه نقاشی، دانشکده هنر، دانشگاه الزهراء(س)، تهران | ||
| 3دانشیار، گروه نقاشی، دانشکده هنر، دانشگاه الزهراء(س)، تهران | ||
| چکیده | ||
| نزدیک به یک قرن است که هنر خودآموختگان راه خود را به فضاهای هنری باز کرده است؛ اما هم‌چنان در مواجهه با آن چالش‌ها و مسایل بنیادینی وجود دارد. هدف اصلی از این پژوهش، بررسی و تحلیل زمینه‌های ورود هنر خودآموختگان و موقعیت آن در عالم هنر است. پرسش اصلی این است: بر اساس کدام تعاریف و معیارها می‌توان آثار خودآموختگان را به عنوان اثر هنری پذیرفت؟ برای رسیدن به پاسخ، نظریه‌های آرتور دانتو درباره هنر و ملاک‌هایی که وی برای اثر هنری عنوان کرده، مبنای تحلیل این آثار قرار گرفته و بر این اساس، نقشی را که دنیای هنر در پذیرش این آثار دارد، بررسی شده است. پس از توضیح این مباحث و پیوند دادن آن با هنر خودآموختگان، چنین نتیجه گرفته می‌شود که، این آثار به دلیل داشتن دو ویژگی، یعنی «معنای مجسم» و «رویا گونه» بودن، خصوصیات ذاتی یک اثر هنری را دارند؛ اما از آن جهت که هنرمند خودآموخته با ساز وکارها و گفتمان اصلی جهان هنر ناآشنا است، حضورش در آن وابسته به تصمیم‌گیری‌های دیگر اعضای تاثیرگذار دنیای هنر بوده و آن‌ها هستند که جایگاه هنر خودآموخته را تعیین کرده و آن را به‌عنوان شاخه‌ای از هنر معاصر راهی موزه‌ها و در نهایت، تاریخ هنر می‌کنند. این پژوهش به روش توصیفی- تحلیلی و جمع آوری مطالب آن به شیوه کتابخانه‌ای صورت گرفته است. | ||
| کلیدواژه‌ها | ||
| هنر خودآموختگان؛ هنر خام؛ هنر بیرونی؛ آرتور دانتو؛ دنیای هنر | ||
| عنوان مقاله [English] | ||
| A Study and Analysis of Self-taught Art and its Entrance into the World of Art According to Arthur Danto | ||
| نویسندگان [English] | ||
| Marjan Mortazavi1؛ Zahra Pakzad2؛ Mansour Hessami Kermani3 | ||
| 1Ph.D. Candidate, Art Research, Al-Zahra University, Tehran | ||
| 2Assistant Professor, Faculty of Arts, Al-Zahra University, Tehran | ||
| 3Associate Professor, Faculty of Arts, Al-Zahra University, Tehran | ||
| چکیده [English] | ||
| Self-taught art is a way of art expression that defines and recognizes based on its independence from the world of formal art. These works reflect its creators' endeavor to express their inner world in strange and unfamiliar ways. The self-taught artist does not start working with the usual motivations of creating art, such as displaying and selling but creating spontaneously in an isolated condition without any connection and knowledge about official art space. This art can be considered as one of the sub-categories of the “Art Brut” or in another term “Outsider Art”. In this definition, those who are interested in self-taught art, are observed not as a psychiatry document, but as an aesthetic experience. Developments of nineteenth-century and modernism have provided grounds for attention to self-taught art as an inspiring and innovative resource, which is continuing up to now. These works have exactly what European art had lost in its long journey; that means strong representation, structural transparency, and simple technique. This change in approach to these works that have not previously had any place in the official art world has raised many questions. The main purpose of this study is to determine the backgrounds of self-taught art and its position in the art world based on the theories of a great philosopher of contemporary art, Arthur Danto and tries to answer these questions: “Based on which definitions and criteria the self-taught objects can be accepted as artworks?”, and “How the works that neither its creators consider them as artwork and nor themselves as an artist, become a branch of contemporary art?” Danto believes that “being art” means being in a field as “art world”; so work is not considered as art until it has been placed in the art world. But Danto disagrees with the openness of the art concept, which has been interpreted as “anti-essentialism”, and he says that it does not lead to a correct definition of Art to say “art is imitation” or “art is not imitation”, so he has set criteria for artwork. He argues that artworks are a “representation” of something else, not necessarily in the sense that they are exactly like their subject, but in the broader concept that they are about something. Since all of the artworks are about something, they have meaning, and meanings are embodied in them, so Danto says that artworks are “Meaning Embodied”. The second characteristic he refers to is “Dream-like”, and says that artworks are like dreams which contain visible qualities, but may not be real, so he defines art as “Awakening Dreams”. Accordingly, Danto uses these characteristics, “Meaning Embodied” and “Dream-like”, as criteria for artwork. Regarding the position of self-taught artists, Danto states that while the members of the “art world” have common principles, the outsider artists are unable to participate in that conversation for various reasons. They do not know the language of the art world discourse to talk about their works, so behaved with them as a neurotic human, not as an artist. According to Danto's definition of art and his criterion for artwork, we can say that self-taught work can be considered as an art because it has those characteristics. Answer to this question that “How these works become a branch of contemporary art?” reveals the role and importance of the art world. The self-taught artist is deprived of entering the official art world because of his social status as a person who does not know the defined art rules and his position as an artist. So they are still in a fragile situation where their presence in the art spaces depends on other important and influential actors of the art world, and they are the ones who can determine the position of self-taught art and enter it as an artwork to the galleries, museums and even art history. Members of the art world control the dominant narrative, and over the past century, they have selected among outsider artists. As the art world has been able to turn Andy Warhol's “Brillo Box” into art, so they could change the work of self-taught art to something that was never meant to be. Placing the work in the space of a white cube gallery, with impressive lights and delicate frames, often obscures the main goals of the self-taught artist. Ultimately, power remains in the hands of the art world, the power of choice, the power of evaluation, and the power of financial valuation. This research is fundamental research that has been done in a descriptive-analytical method and data collecting through the library method among the available resources in the field of self-taught art. The tools used are in the form of taking notes and finally, by qualitatively analyzing the information, an attempt has been made to give appropriate answers to the questions raised. | ||
| کلیدواژه‌ها [English] | ||
| Self-taught Art, Art Brut, Outsider Art, Arthur Danto, Art World | ||
| مراجع | ||
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- دانتو، آرتورکلمن(1383). «هنر، فلسفه، فلسفه ی هنر»، ترجمه سیما ذوالفقاری، خیال، شماره 9، 121-129. - دانتو، آرتورکلمن(1393). آن چه هنر است، ترجمه فریده فرنودفر، تهران: چشمه. - دیویس، استیون(1385). «چالش‌های تعریف هنر»، ترجمه محمد حامدی، رواق هنر و اندیشه، شماره 2، 46-63. - شریف‌زاده، محمدرضا و بنی اردلان، اسماعیل(1391).«مساله تشخیص کار هنری بر اساس نظریه عالم هنر آرتور دانتو»، نقش مایه، دوره 5، شماره 10، 25-32. - گامبریج، ارنست(1385). تاریخ هنر، ترجمه علی رامین، تهران: نی. - یاسینی، سیده راضیه(1395). هنر خودآموختگان هنر فطری، تهران: علمی و فرهنگی. Becker, Howard (1976). Art worlds and social types, American behavioral scientist, 19(6), 703-718. Becker, Howard (1982). Art Worlds, Berkeley, CA: University of California Press. Benedetti, Joan. M (2008). Folk Art Terminology Revisited: Why It (Still) Matters. New York City: Jefferson. Cardinal, Roger (1972). Outsider Art. New York: Prager. Danto, Arthur.C (2001). Outsider Art,Self-taught Art: The Culture and Aesthetics of American Vernacular Art By Charles Russell,University Press of Mississippi,61-67. Danto, Arthur.C (1999). Bourdieu on art: Field and individual, Bourdieu. A Critical Reader. Oxford: Blackwell, 214-219. Danto, Arthur.C (1998). The Art World and its Outsiders, self taught artists of 20th century New York: museum of American folk art, 18-27. Danto, Arthur.C (1964 ). The Art World. Journal of Philosophy, 6(19), 584-571. Kallir, Jane (2017). Self-Taught Art in the 21st Century: Where Do We Go From Here?, Posted on April 7 in gseart, Retrieved 2020/5/13,https://gseart.com/gse-blog/2017/04/07/self-taught-art-21st-century-go/. Maclagan, David (2010). Outsider art: From the margins to the marketplace. London: Reaktion Books. McAuliffe, Chris (2014).Outsider art and the desire of contemporary art.Posted on October 24 in chrismcauliffe, Retrieved 2020/5/13,https://chrismcauliffe.com.au/category/art-criticsim/. Russell, Charles (2011).Groundwaters: A century of art by self-taught and outsider artists, New York: Prestel. | ||
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آمار تعداد مشاهده مقاله: 424 تعداد دریافت فایل اصل مقاله: 375 |
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