Abstract

The idea of a ‘global’ concept of art might suggest a transcending of the categories which would locate an artwork relative to one place and one time. Is this possible? If we answer in the negative, this suggests that a global concept of art is not possible, but on the positive side, the significance of the particular is kept intact. If we answer in the affirmative, then a global concept of art is possible, but we lose the very aspect that defines art: its particularity. I will argue that we can limit the damage all round by construing art in a way that allows the particular features of an artwork’s time and place to feature within the broader placeholders of a global concept of art. According to the global concept of art I will present here, art is a normative system. Its place holders could be a narrative, representation, expression of emotion or perceptual experience but what in each case explains our engagement with it as art rather than say a scientific experiment or an historical record is the particular kind of reflection that the form of the work gives rise to. Hence the form of the work or the form that our engagement with it takes is what qualifies the narrative, representation, expression of emotion or perceptual experience as art. The damage referred to above is not eliminated entirely though. The norms in a system are taken on board through day to day interaction with others who engage these norms. As such, when art is construed according to such systems, the meanings it embodies as art may be inaccessible to those not acculturated into the relevant norms. A theory of art for a global concept of art, then, must identify in what sense art is a normative system and it must provide some account of how we engage with it when we engage with it as art. For the former, I draw upon philosophical analyses of moral judgment, and for the latter, I turn to that much maligned, indeed bogus, divide between the aesthetic and the antiaesthetic. I conclude that a global concept of art is one that maintains the integrity of the artwork, and that writing is art historical rather than merely historical when it is conducted from within the culture that grounds the art under discussion.