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The Art and the Artist: Can We Separate Them?

My point is that art is a constant, but our relationship to the artist is varied. By separating the art from the artist, we free ourselves from the cultural and time constraints, which are inevitably variable and allow ourselves to enjoy the art, which is timeless.
 
As said, we won't end up with a general "solution" anyway, so that's great for you. Art should always envoke emotion, good, or bad, but for me it's not consumable, when used to stir up hate inside our societies.
 
As said, we won't end up with a general "solution" anyway, so that's great for you. Art should always envoke emotion, good, or bad, but for me it's not consumable, when used to stir up hate inside our societies.
Yeah, but we're not talking about art stirring up, but the artist. Hence, the separation
 
Let me rephrase then, because you're obviously right here: "used as a means of transport hateful rhethoric"
 
and that's where I personally draw the line, even if the art is appealing to me, just from a technical standpoint.
 
That's fair enough , but that's a different discussion.

I'm not a big fan of political art because it is of its time and it loses relevance as time goes by and it doesn't necessarily speak across cultures. There are exceptions, of course.
 
Oh boy, Darr, you have opened up a can of worms.

When I look at a photograph (I prefer prints, but they are seldom seen in my area) I like it or I don't. Actually I never think is it art or not unless it gets into what I would call the impressionistic, abstract or surreal realm.

Maybe I am being too simplistic?
 
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Can an AI generated piece of "art" (I use the term very loosely for want of a better one) be, or should be, separated from its unthinking, non-living creator?

....and yes, I do realise that's a heavily loaded question.


Cheers,
Duff

AI isn’t a creator in the way a human is. It doesn’t feel emotion, experience longing, or carry the weight of memory. It doesn’t wake up, moved by a dream, haunted by a broken heart, or lit up by the thrill of falling in love. So, even though my thoughts on this are still taking shape, when something visually or conceptually compelling comes from AI, I don’t think we should be looking at the machine. We should be looking at the human who used it.

Should it be separated? Yes, I think so. As long as we’re clear that the so-called “unthinking creator” isn’t the creator at all. The real author is the person behind the prompt, the one making choices. Maybe those choices are curatorial, maybe conceptual, or maybe just lazy. But even laziness involves intent (of a sort), and that still counts as a form of authorship.

Now, if someone feeds an AI a vague prompt, lets it churn out thousands of random images, and then dumps them all online without any sense of selection, theme, or purpose—well, at that point, we’re probably not looking at art. We’re looking at data output dressed up for the gallery.


Just as a sidenote Darr...



I wonder if he meant, and I'm being kind to your friend here, that some photographers are able to sell their wares no matter how bad they are? I've certainly come across photographers that are well known, but produce quite awful images. I wonder if he is touching on, and I paraphrase, "it"s not how good you are, it's how famous you are". I could expand on that, but this is another tangent from your opening post and perhaps better off with a separate thread.


Cheers,
Duff

He’s filed legal paperwork against people who stole his or his clients’ photographs, so I know photography truly matters to him; it’s not just a hobby, it’s a hill he’s willing to die on. He states he has sold work, done the craft show circuit, and even tried his hand at wedding photography. Though from what I gather, it didn’t exactly fund much.

That said, and I’m really not trying to be harsh here, just honest, I don’t find his work particularly artistic. We’ve gone out shooting together and photographed the same scene, but our results are very different. I think creativity isn’t where he naturally excels, and he doesn’t seem to make full use of the tools he has. Still, I genuinely hope to see him grow artistically over time. I think there’s potential there, but progress, so far, has been slow.

I think some of his distrust toward other photographers might come from those past skirmishes over image theft. He knows photography and commercial art are my profession, but he has said he does not see it as a legitimate career. Which always makes me laugh. I mean, where would the world be without the people who design album covers, shoot toothpaste ads, or make fast food look edible (lipstick on tomatoes, anyone)? Apparently, we’re not “real” professionals unless our work ends up on a billboard or a coffee mug. He tends to discount art school and university degrees in the subject, yet he’s still chasing the identity of being a photographer. It’s a bit ironic. He brushes off the formal path but clearly longs for the recognition that often comes with it. You can’t help but root for him, but sometimes it feels like he’s trying to run the race while ignoring the map.

I also suspect his father’s opinions have had a negative impact on him. It’s a reminder to be mindful of who we spend time with; you can easily absorb someone else’s worldview without even realizing it. He is a great guy in many ways. I just think he’s had some unhelpful shaping from someone he’s spent his life trying to please, and that saddens me. So I do my best to be the artsy friend he deserves: the art-world equivalent of a tree hugger. :LOL:
 
Great thread and, @darr, thanks for the passion. The participants here are unlikely to ever agree on what art is, but I am pretty sure that it doesn't matter if we do. I am a scientist - to the bone - and my views of artist or art are unlikely to conincide with those of a professional artist. We shouldn't agree, just as my views of evolution will diverge from those of a bible literalist. Different world views and agreement is not to be expected.

My point is just that there has to be some restriction on the use of the terms art and artist or those terms are meaningless. Are you a musician because you can chord a guitar? Or because you think you chord nicely? The restriction I use is that art must be appreciated by people other than its creator. The more appreciators, the better this art meets the definition. Note that doesn't mean the work is better, just that it is easier to define as art.

My hypothesis holds that many viable works are not seen as art, because the creator is invisible. Vivian Maier comes to mind. All we can hope is that art - like truth - will out, as it did for Maier's body of work. And that brings us back to the OT of whether the art is independent of the artist. I have suggested that for art that is already highly valued (Turner, Picasso, Weston, etc), it usually is. For artists still building rep it isn't, and the artist is often marketed to enhance the art. In the noncommercial world, however, there are many invisible creators who lack the ability to put their work in public view. According to my definition, thereofre, that work was never art. We can only hope that the future will expose it, allowing it to become art. Many artists have to wait until after death for recognition.

For me, that's the point of this place, these forums. By appearing here I come out of the shadows a little bit. Not enough to consider myself an artist, but better than invisible.

Thank you for your thoughtful post. You’ve given a lot of consideration to the nature of art, artists, and the lens through which each of us views creative work. I agree: differing worldviews are not only expected, but essential to meaningful discourse. After all, if everyone agreed on what art is, the entire field would probably feel a bit lifeless.

Your scientific framing of appreciation as a defining metric, that art must be valued by others to be considered art, is compelling in a sociological sense. But from where I stand, as someone who lives and breathes visual expression, I would offer a slightly different angle.

To me, a visual artist is someone who brings something into existence that didn’t exist before, whether that’s a painting, a photograph, a sculpture, or even a compelling arrangement of everyday objects. It’s not just about making images, it’s about generating ideas and translating emotion, thought, or observation into something tangible. In that sense, it’s deeply personal. I sometimes joke that each piece is an extension of my being, like the child Marco speaks of, created, nurtured, and let out into the world with hope and intent.

Of course, recognition is another layer entirely. As you said, history is full of now-celebrated artists who were invisible in their own time, Vivian Maier being a hauntingly beautiful example. I absolutely agree that many artists labor unseen, and that the ability to share work publicly, or not, is often what determines whether something is recognized as art. But for me, that doesn't mean the work itself wasn't art before it was discovered. It simply hadn’t found its audience yet.

I was raised with a saying that hung on the wall in our home:

"The forest would be very quiet if only the birds that sang best, sang."

That little quote has stayed with me throughout my life, especially as an artist. It reminds me that expression isn’t reserved for the elite, the famous, or the technically perfect. Creativity, like birdsong, is meant to be shared, not measured against some imagined standard of greatness.

Art, like truth, has a way of surfacing. Sometimes quietly, sometimes loudly. And sometimes, yes, after we’re gone. But I believe the act of making the intent, the vision, the care, is enough to call someone an artist, whether or not their work ever hangs in a gallery or draws a crowd.

I admire your self-awareness and humility in saying this forum helps you come “out of the shadows.” I’d say participating in creative conversation, sharing work, and exploring ideas are all things artists do. Visibility may follow, or not, but the act of expression itself is already beginning.

Thanks again for your insight. You’ve given me a lot to think about.
 
Oh boy, Darr, you have opened up a can of worms.

When I look at a photograph (I prefer prints, but they are seldom seen in my area) I like it or I don't. Actually I never think is it art or not unless it gets into what I would call the impressionistic, abstract or surreal realm.

Maybe I am being too simplistic?

Oh, I definitely knew that can was full of worms, but hey, sometimes you’ve gotta stir the pot to keep things lively!

And no, I don’t think you’re being too simplistic at all. “I like it” or “I don’t” is honestly the most straightforward and human reaction there is, and probably more honest than half the art-speak I’ve heard in galleries over the years. Sometimes I think people stare at a wall-size print and say “Hmm, fascinating use of tension” when what they really mean is “I have no idea what I’m looking at, but I’m too afraid to blink first.” :ROFLMAO:

I totally get what you’re saying about things feeling more like “art” when they lean into impressionism, abstraction, or surrealism. Personally, that’s my cup of tea, maybe even my whole teapot! But I’ve learned the hard way that those styles aren’t always crowd-pleasers. So I just tell myself we’re part of a very exclusive club. You know, the “special” ones who like their art a little weird, a little dreamy, and definitely not mass-produced at the mall.

Anyway, I always enjoy what you bring to the conversation. We probably all define art a little differently (which, let’s face it, is pretty on-brand for artists), but one thing’s certain: you’re one of the good ones, and I’m really glad we get to share this creative space. :)
 
I'm not a big fan of political art because it is of its time and it loses relevance as time goes by and it doesn't necessarily speak across cultures. There are exceptions, of course.

Well, you can't say art is timeless and then say it isn't. If you are saying art has an inherent value, then the artist's intent or cultural reference does not matter. I think your argument is that art cannot be judged by the observer, but you are doing just that. Although I am unsure of your position as you also say is a work is not observed, then it is not art. Which kind of eliminates the idea art has an inherent value.
 
Well, you can't say art is timeless and then say it isn't. If you are saying art has an inherent value, then the artist's intent or cultural reference does not matter. I think your argument is that art cannot be judged by the observer, but you are doing just that. Although I am unsure of your position as you also say is a work is not observed, then it is not art. Which kind of eliminates the idea art has an inherent value.
I am saying that in general, art is timeless, but political art mostly isn't. Art is emotional communication, therefore its value is attributed by the audience. My argument is contrary to your statement. Art can only be judged by the observer.
 
I can’t agree with your definition. If we say “art can only be judged by the observer” and base its very status as art solely on that, we end up erasing the artist’s intent, skill, and vision.

By that logic, if a painting sits unseen in an attic for 200 years, it isn’t art until someone stumbles upon it, which I find hard to accept. It was still art the moment the artist created it, whether or not it had an audience.

I also think “art is emotional communication” is only part of the story. Art can be emotional, yes, but it can also be intellectual, conceptual, or purely aesthetic. A minimalist sculpture of a cube might leave a viewer unmoved emotionally, but that doesn’t strip away its status as art.

As for political art not being timeless, history has plenty of counterexamples. Goya’s The Third of May 1808, Picasso’s Guernica, and Dorothea Lange’s Depression-era photographs all carry political weight, yet their themes remain as relevant today as they were in their own time.

I think the audience plays a role in valuing and interpreting art, but they don’t get to decide whether something is art in the first place. That begins with the act of creation.
 
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Everyone who has done any kind of creative work has experienced, in a greater or less degree, the state of mind in which, after long labour, truth or beauty appears, or seems to appear, in a sudden glory - it may only be about some small matter, or it may be about the universe. I think that most of the best creative work, in art, in science, in literature, and in philosophy, has been a result of just such a moment. Bertrand Russell

Everyone who participates in a discussion like this is curious, and that's a first step towards understanding. Such musings are never conclusive. There is no single definition of art, for example. But may all of us have our creative moments and know them for what they are.
 
I can’t agree with your definition. If we say “art can only be judged by the observer” and base its very status as art solely on that, we end up erasing the artist’s intent, skill, and vision.

I made this analogy a while back: If a tree falls in the forest and there is nobody to hear it fall, does it MATTER if it makes a sound? The same thing applies here. Intent, skill and vision should matter to someone. If there is no one to appreciate the skill, intent and vision, then those things don't matter. The artist may appreciate those things, in which case he is his own audience.

By that logic, if a painting sits unseen in an attic for 200 years, it isn’t art until someone stumbles upon it, which I find hard to accept. It was still art the moment the artist created it, whether or not it had an audience.

Only a human being can label something as art. There is no art in the monkey or a cat world. Art doesn't exist without people. Therefore, work needs to be seen by people to be art. Otherwise, it's just paint on canvas instead of a painting or a piece of rock instead of a sculpture.

I also think “art is emotional communication” is only part of the story. Art can be emotional, yes, but it can also be intellectual, conceptual, or purely aesthetic. A minimalist sculpture of a cube might leave a viewer unmoved emotionally, but that doesn’t strip away its status as art.

That one is harder to argue. I would have to ponder that to clearly state my thoughts.

As for political art not being timeless, history has plenty of counterexamples. Goya’s The Third of May 1808, Picasso’s Guernica, and Dorothea Lange’s Depression-era photographs all carry political weight, yet their themes remain as relevant today as they were in their own time.

I was actually thinking of those works when I said that there are exceptions

I think the audience plays a role in valuing and interpreting art, but they don’t get to decide whether something is art in the first place. That begins with the act of creation.

Not all creation is art. Someone decides which creations are art and which aren't. That someone is the audience, the viewers.
 
This is a very old argument that I am trying to go around. If you feel you produce art, by all means. If you feel someone else does it, again, by all means. That's what you feel and I'm the same, though I don't think of it as art. I just enjoy making and viewing photos. I know that because I spend time doing it. My test for giving likes here is if I develop an involuntary smile looking at a photo. Some photos on GetDPI do that to me. However, any liking I have for them does not make them art. I also smile when I see my dog. I spend lots of time with him. So my relationship with photos is about what pleases me, not artistic value.

As an old-line epistomologist, what I find interesting is "What do I mean when I say art?" We need an agreed meaning to have a useful discussion. For example, I have a friend who loves metal music. He considers it music (art). I detest it. I consider it noise (not art). Which of us is right? Neither, unless we have a clear definition of art. To get into a discussion about it is probably unproductive because it will come down to "It's art because I think it is (or isn't)." That's a circular argument.

I think I am getting a bit OT here. I am interested in what photographers think is artistic and I'm enjoying this thread. However, this started out as a question of whether the value of art (whatever art is) is linked to its creator. We can answer that without defining art. Instead we define value for items perceived as art. One approach lies in quantifying how much time, money or effort people a willing to expend to access the "art". Doesn't mean it's art beacuse, as I said, we haven't defined that. It just means that people are willing to invest resources to view it or own it, and maybe we can make that one part of a useful definition of art. Looks like most readers here disagree. Happy to accept that.
I want to bump this, because I believe this terrific post has gotten buried.

As someone who teaches a course on Bob Dylan, I struggle with this. He's unquestionably (to me, at least) a genius beyond (my) understanding. But do I give him an aesthetic "pass"? Do I try harder to appreciate what in another artist I might quickly dismiss as "trash"? Yeah, I do. The cruel thing is that once someone achieves a certain status, for many of us their artistic trajectory privileges their work. Completely unfair, but true.

That's not exactly darr's great point about biography potentially "sinking" the artist, which is far more in fashion today. It's not a left-wing or right-wing tendency: we're in a circular firing squad here. Not without some benefit: perhaps we're trying to say that artists don't get a free pass on behavior. But do we then erase the art? To use Dylan again, he has recently been accused of sexually grooming an underage girl when he was in his mid-20s. It was dismissed in court with prejudice and cannot be reinstated. But still.... And I have a brilliant colleague who doesn't like Dylan's music because of how in the recent film he was depicted as treating Joan Baez (which is ballpark accurate).

So maybe at least somewhat separate from the question of "what is art," there are 2 issues here: one is: does the artist's biography count when evaluating the art; second: does the artist's previous work (and its critical acclaim) condition our appreciation of that artist's subsequent work?
 
Regarding Bob Dylan and Joan Baez:
I have always, and will always, hold Dylan in high regard as a poet. I haven’t seen the film mentioned, but I’ve long been aware through Baez’s own songs and writings of how he may have treated her. That doesn’t make it right, but she also bears some responsibility if she chose to remain in whatever relationship they had.

I may sound harsh, and I don’t claim to know every detail (nor do I care to), but I’m not someone who pities women who choose to stay in abusive relationships. My mother was a single parent because of her circumstances, and I grew up understanding the sacrifices some women make to build a better life for themselves and their children. Not everyone, women or men, sees it this way, but I believe we have to put ourselves first, take responsibility for our lives, and not dwell endlessly on loss, whether real or potential.

In the end, Baez turned that relationship into material for her art, and perhaps that was her way of reclaiming something from it.

--

1. Should an artist’s biography count when evaluating the art?
In my case, yes, but it depends on the nature of the misconduct. I can often separate the artist from the art, and I’ve had emotional responses to work even when I’m aware of flaws in the person who made it. However, certain actions cross a line for me, especially those involving systemic disrespect toward women. When that line is crossed, my appreciation shifts from positive to negative. By “negative,” I mean the work no longer appeals to me, and the connection is lost. This reaction is similar to how I respond in everyday life when people I know behave in ways I find deeply concerning: they lose whatever influence or “superpower” they once had in my eyes.

2. Does an artist’s previous work and acclaim condition my appreciation of later work?
It can, but only up to a point. An admired past body of work might make me more inclined to explore their later work, but it doesn’t shield them from my judgment. If I learn of serious misconduct, my overall attraction to both their earlier and later work can diminish. The pedestal effect disappears, and I see them as I would anyone else whose actions have changed my view of their character.

This brings me to another thought I’ve been turning over, perhaps a little metaphysical to some. Could the artist’s spiritual essence carry through in their work? Not just their name or reputation, but something of their soul itself? When I read old literature or stories from the past, I sometimes feel the author is speaking directly to me, in a way that runs deeper than the words on the page. And if that’s true, if the artist’s spirit is woven into the work, maybe that’s why, for some of us, it’s so hard to separate the art from the artist fully. The work becomes more than an object; it becomes a vessel for who they are.
 
I made this analogy a while back: If a tree falls in the forest and there is nobody to hear it fall, does it MATTER if it makes a sound? The same thing applies here. Intent, skill and vision should matter to someone. If there is no one to appreciate the skill, intent and vision, then those things don't matter. The artist may appreciate those things, in which case he is his own audience.



Only a human being can label something as art. There is no art in the monkey or a cat world. Art doesn't exist without people. Therefore, work needs to be seen by people to be art. Otherwise, it's just paint on canvas instead of a painting or a piece of rock instead of a sculpture.



That one is harder to argue. I would have to ponder that to clearly state my thoughts.



I was actually thinking of those works when I said that there are exceptions



Not all creation is art. Someone decides which creations are art and which aren't. That someone is the audience, the viewers.

Bad lighting can ruin a masterpiece, and this conversation feels the same. I’m stepping out.
 
I am saying that in general, art is timeless, but political art mostly isn't. Art is emotional communication, therefore its value is attributed by the audience. My argument is contrary to your statement. Art can only be judged by the observer.

But you are just describing personal preference, which has nothing to do with art. That is just your particular taste. Something does not stop becoming art because you don't like it on an emotional level.
 
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