ART FOR ART’S SAKE

(Money for God’s sake)

By: Kenneth M. Ducanes
 Cultural Capital and Symbolic Capital
- THE ‘COIN’ OF THE ART WORLD

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ART has been for ‘art’s sake’ and

This is Your not been trade or craft
Presentation
Title
 BORDIEU’S POINT OF VIEW:
• art produced to a logic which heterenomous
with respect to a wilder social field-that is art
produced for commercial success

• work with autonomous with respect to

economic field-the consecrated or the art of the
art’s sake (SYMBOLIC CAPITAL)

Pierre Bourdieu 3
Art produced to a logic which heterenomous with respect to a wilder
social field-that is art produced for commercial success:

Artist typically engaged in social politics in a way that

‘should’ be excluded by the logic of uninterested art. 4
 ALTAR in a MIRAE CHURCH
• the balance of the various elements and the beauty of the face
• point is on the one hand a continuation of a particular Maori carving,
• other contribution to worship.
• For the artist: skilled and creative working other than art’s sake-for
culture, tradition and GOD. 5
MAORI PEOPLE ARE
MEMBER OF A
POLYNESIAN PEOPLE IN
NEW ZEALAND

TOI WHAKAIRO is the

traditional MAORI ART
CARVING

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Work with autonomous with respect to economic field-the
consecrated or the art of the art’s sake (SYMBOLIC
CAPITAL):

• Bourdieu 1993:39
• self-consciousness, self-referentiality, a concern with form
and an engagement with artistic issues

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William Blake’s statement Samuel Johnson’s comment

“Where any view of “No man but a blockhead

money exists, art cannot ever wrote, except
be carried on”. money”. 8
 The idea that art can or should
be free from social necessity is
comparatively recent; It was not
until eighteenth century (18th)
century that art began to assume
the status of creativity.
(Staniszewski 1995:111)

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 A WAY OF STAYING ALIVE
Installation Work By: Anneth Douglass & Chaco Kaito

It is designed to respond their government reluctants to

accommodate refugees and to address the questions of who we are,
where we come from and why we came. 10
Jonathan Mane-Wheoki
• He writes of a conference he attended on
Pacific Art.
• He rejects an imperative that talks about
contemporary Western art logic responding
“If that is the attitude of Western Scholars
to our sacred treasures, why would we wish
to continue to engage with Western
Scholarships”.
• His approach to art and art history
incorporates, and to some extent depends
on the sacred something that is divorced
from art in the Western tradition.
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New Zealand Art Historian
12
1. The idea that art can or should be free from social
necessity is comparatively recent; It was not until
eighteenth century (18th) century that art began to assume
the status of creativity?

A. Staniszewski 1995:111
B. Bourdieu 1993:39
C. Bourdieu 1995:97
D. Staniszewski 1998:113

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1. The idea that art can or should be free from social
necessity is comparatively recent; It was not until
eighteenth century (18th) century that art began to assume
the status of creativity?

A. Staniszewski 1995:111 ✔
B. Bourdieu 1993:39
C. Bourdieu 1995:97
D. Staniszewski 1998:113

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2. Who said this comment" No man but a blockhead ever
wrote, except money”?

A. Samuel Gomez
B. Samuel Johnson
C. Samuel Kim
D. Samuel Kant

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2. Who said this comment" No man but a blockhead ever
wrote, except money”?

A. Samuel Gomez
B. Samuel Johnson ✔
C. Samuel Kim
D. Samuel Kant

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3. Maori people are member of Polynesian group in _?

A. Russia
B. USA
C. Philippines
D. New Zealand

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3. Maori people are member of Polynesian group in _?

A. Russia
B. USA
C. Philippines
D. New Zealand ✔

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4. Who said this statement "Where any view of money exists,
art cannot be carried on”?

A. Anneth Douglass
B. MacArthur
C. William Blake
D. Chaco Kaito

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4. Who said this statement "Where any view of money exists,
art cannot be carried on”?

A. Anneth Douglass
B. MacArthur
C. William Blake ✔
D. Chaco Kaito

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5. His approach to art and art history incorporates, and to some
extent depends on, the sacred—something that is divorced
from art in the Western tradition.

A. William Blake
B. Jonathan Mane-Wheoki
C. Samuel Johnson
D. Anneth Douglass

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5. His approach to art and art history incorporates, and to some
extent depends on, the sacred—something that is divorced
from art in the Western tradition.

A. William Blake
B. Jonathan Mane-Wheoki ✔
C. Samuel Johnson
D. Anneth Douglass

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