Art and Understanding

"Here, I am afraid the evil side of elitism looms. Insistence on excellence in works for the museum, and refusal of all compromise with popular taste, are all to the good; for the muscles of the mind must stretch to be strengthened. But giving the impression that the only works worthwhile are those so rare and costly as to be confined to museums and great collections, that there are no good works that people can own and live with-this is one of the worst effects a museum can have. And when works begin to be produced expressly for museums, we reach a stage of utter perversity. For the museum after all is an anomalous and awkward institution made necessary only by the rarity and vulnerability of works that belong elsewhere."

I found this particular passage, in the Goodman essay on museums to be fascinating. I am also in an Art History course this semester, and we are concentrating on the social and political implications of art, as opposed to the strict formal qualities that usually define courses on the history of art. This entire essay resonated with the material that we have covered in that class, but this passage allowed me to draw a connection between the knowledge from that class and this one.

Art is, in my opinion and understanding, an expression of the very essence of the human soul. Whereas there are a myriad of manners of communication, few allow the viewer (or reader, or patron) to connect with the material in such a direct manner. Art is not rooted in scientific, mathematic, or even cultural knowledge; it is much more. Art allows demonstration of understanding. It demands that links be made between the viewer's personal experiences, and the message that the artist is attempting to convey.

So it is, I think Goodman would say, with cognitive achievement. While knowledge is fine and well, understanding is the true measure of accomplishment. So it is with art; formal qualities are important, but the true measure of an artwork's success lies in its ability to communicate with the viewer. There is no reason to think that understanding is such an elite concept that it must be protected within the confines of educational institutions or scientific facilities, much as Goodman suggests that it would be remiss to think that 'good' art can only exist in a museum.