Artist in Society te w~i pienlity' and ad-
NOT ALL of these, however-in
(Continued from Page 12) probability, very few if any-
will be as a result of being an
sons which resulted. By the art- artist: lawyers, housewives, and
istes storming against the conven- shop clerks are also liable to devia-
tions and proclaiming the arts tions from the social norms. It is
the realm of the different, the interesting, however, that when an
field of the arts was seen as a artist or arts-hanger-on is deviant.
refuge or place of development the blame for this is usually laid
for not only the persons legiti- to his identification with the arts.
mately qualified for the arts, but This general attitude - almost
also for any non-art, lunatic fringe entirely confined to the western
social misfits. world-seems to stem from the
The shoutings and flauntings of era of the rise of Christianity
these latter have come to be iden- when the arts were declared be-
tified with art and its practice to yond the pale as pagan.
the hurt and confusion of the However, the artist may or may
qualified practitioners and the' not (depending largely on the in-
public in general. The practitioner dividual) identify with and be ac-
wonders "can these values be 'cepted by his society as easily as
valid"?, and the public, in ex- most other highly specialized
asperation, concludes, "they're all members of the group.
mad." The designer is in a position
rather similar to that of the art-
THERE IS presently a fourth tait, but, because of the bent of our
classification of the art piac- 'ociety to venera mass produc-
titioner taking form-the design- tion, and the great urgency to keep
er-artist. up with the Joneses by even the
The industrial revolution and lowest middle classes, the designer
rise of industrialism took over has a far greater prestige and,
most of the art areas and largely often, income. In effect, connec-
replaces the traditional art prac- tion with an assembly line obliter-
titioners with the industrial and ates any questions of unaccept-
commercial designer. ability.
The designer, largely an Amer- The artiste is often in sad condi-
Lean invention, has gained tre- tion. Not only are the artiste's
mendois prestige both on snob ._-'notions of his own position often
appeal and on actual merit, partly FINE ART-The aesthetic value unreal, but the ideas concerning
because our culture is largely a of art or the difference between him are usually unreal also.
snob one and partly because our fine and applied art is seen in The prime examples of artistes
culture is oriented to the idea of this statue. today are probably those engaged
technology and efficiency. in motion picture making. The ex-
The designer is the production it should be noted that the classi- tremes of animosity and adulation,
line's solution and adaptation of fications are types rather than the absurdly varying tensions and
the artist role. He is a high rank- particular persons; it is quite pulls and drives in almost every
ing <often executive) member of probable that one individual will phase of their lives, the values
the hierarchy, yet geared to the partake of more than one type. which are and are not meaningful
desires of the public through the Also, the development of a new to them, make one wonder not at
more or less successful inquiries type does not wipe out previous the maladjustments one notes so
of consumer research devices. types - they can and do exist often, but at the fact that as deli-
Also, in a system and era geared simultaneously. cate an entity as the humand mind
to narrow tolerance of deviation, can survive at all.
his products are ground out in f7tlE ROLES played by each of - - - -
absolute uniformity one after an- these art practitioners- art-
other, by methods toward which Isan, artist, artiste, designer-will
the public is favorably inclined vary somewhat from one society to
even though largely ignorant of another, but will be, in the main,
the actual processes. The art pro- fairly constant." o
duct is fabricated in an accepted The artisan will function simply
manner, whereas the product of a as a member of the society with a
studio carries with it not only the special skill, but no more differ-
possibility of being different (a entiated than the woodsman,
quality, as noted, more talked than hunter, farmer, or mechanic.
achieved or, desired) as well as He will produce goods (of the E T
being tainted by the different highest aesthetic qualities) as
(that is, probably immoral) "art- items directly utilitarian whether NO 3-4545
ist." that utility be on the level of a
Even though the designer and stool or bowl or that of a ritual
his wares are accepted, there is mask or funerary object. He will
still some of the old fear of the be valued to the degree in which
"artist," much as actors are still he meets his society's demands for
looked on with suspicion by many. his goods. His adjustment to hisWILLOW RU
society will be due largely to his I IL I U
PARALLELING the rise of the own efforts and abilities, not to
designer has been a change in his engagement in the art areas. PHONE EARL
the public towards art that could The role of the artist will be
well change considerably the role considerably more complex. The GROUP R
of art in the culture and, there- society in which he finds himself
fore, the role of the art practi- may be comparatively simple or
tioner. extremely differentiated. Com-
Rather suddenly the masses, on plexity of social ordering offers W e Go. ' Anywh
an ever increasing scale, are in- wide choices with the possibility
terested in art in all its phases, that the choices made may not be
areas, and eras. This fairly recent the best.
development in conjunction with Tension andh isecurity are coi-
the acceptance of the designer, staits. and there is liar possibility
holds the possibility for the arts of regrets continuing long after a
and their practitioners to once poor choice has been made. These
more identify with and work for factors (which operate for all
the society as a whole. members of the society) may sei-
In closing this discussion Of ousy affect the individual on
classifications of art-practitiones, whom they bear. Almost inevitably
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Page Nineteen