IDOOY’S SCRIPT

(1st Slide)

Good evening everyone, My name is Kenneth Ducanes I am assigned to report the 'ART FOR ART’S
SAKE? (Money for God’s sake)'.

(2nd Slide)

It is said that Cultural Capital and Symbolic Capital are the coin of art world. And one of its central
rules of the field of art is disinterested because in the early nineteenth century, ang art daw has been
for art’s sake, neither for trade nor craft.

(3rd Slide)

As you can see the picture in left side, this is Pierre Bourdieu. Pierre Bourdieu was a French sociologist
and public intellectual. From BORDIEU’S point of view, it is divided into two opposing poles along a
continuum practice, 1st is according to a logic which heteronomous with respect to a wilder social field-
that is art produced for commercial success . So this type of art is being advertised, or designed in
order to satisfy a commissioning client, not just to please somebody or everyone. And there are work
that is being unlikely to be purchased may it be in an art gallery, or being displayed in Biennales and
triannales in which gina held across the globe each year. For example of this is this carving, this is a
part of an altar in a marae, or Maori Community church. The artist of this is very skilled due to the
balance of various elements and the beauty of its face. Its point is on the one hand a continuation of
a particular tradition of Maori carving, and on the other a contribution to worship. We can assume
that the artist of this art is working for something, for God, culture, and tradition, other than the art’s
sake.

On the other hand is the work with autonomous with respect to economic field-the consecrated or
the art of the art’s sake or called (SYMBOLIC CAPITAL). Consecrated means having made or declared
sacred. In which according to Bourdieu it is valued and art’s success is determined by the approval of
other autonomous producers or artists. Diria daw kay ang mga work or art is being done according to
the logic identified such as self-referentiality, self-conciousness, concern with form, engagement with
artistic issues and so on of the artist.

So diri naay debate distinction of position sina William Blake and Samuel Johnson. According to
William Blake “Where any view of money exists, art cannot be carried on” so parang sa akong
pagkasabot against siya sa idea na ang art is involved with money, and as for Samuel Johnson “No
man but a blockhead ever wrote, except for money”. It is stated that both their statements are valid,
and have their limitations. Because it is said that art production has always been reliant on having
access to or owning the required financial resources.  Only those who have the financial means to do
as they wish are exempt from having to balance the needs of art with the demands of the market or
society. And the notion that art may or should be free from social need is relatively new; it wasn't
until the eighteenth century that art started to assume the status of creativity and originality, of
something distinct from daily life and from the concerns of economics or politics.

Contemporary art means “art of today”, in western culture it crosses the barrier of artists should not
typically engage with social politics according to the logic of disinterested art. However ang
 Installation work “A Way of Staying Alive” by Annette Douglas and Chaco Kato does cross the
barrier. It is an art which are aesthetically pleasing and sophisticated. Because this type of
installation work is designed for their government who is reluctant on accommodating
refugees and in addressing the questions of who they were, where they came from, and why
they came.

The makeup of the installation vary from comfortable suburban frocks (overprinted with shards of
buildings and the machinery of war), through waxed, hooked garments (in white, the color of
mourning in parts of Asia), to smaller floor pieces: fragile bent-twig building frames, feathers heaped
into hats, stuffed kitbags. Nets (layered hot pink over brown over blue, against white walls, above
uneven old scarred wooden floors in a bright room) are also used to make a point. Nets capture,
collate and connect; and in this exhibition they are scooped into points, like mountain peaks, or steep
waves in a child’s drawing of the sea, recalling the tenuous links between place and place, bringing to
mind the natural ties that bind us together as people, but also the barriers and barriers that ensnare
asylum seekers in prisons.

(11th Slide)

So Jonathan Mane-Wheoki, a Maori art historian kay nag hatag ug own distinct perspective or idea sa
subject of art in his culture. In which he describes attending a conference on Pacific art in which
where a certain speaker said that "he would not discuss spirituality or any of that nonsense in relation
to an Indigenous Australian work of art that he was discussing. It is because, the logic of
contemporary Western art does not include spirituality; autonomous na mga artists does create art
for the sake of art, not for the purpose of custom or belief. But Mane-Wheoki refuse this and respond
"If that is the attitude of Western scholars to our sacred treasures, why would we wish to continue to
engage with Western scholarship?’ (Mane-Wheoki 1996: 35). His method to artwork and artwork
records incorporates, and to a point relies upon on, the sacred—or something that is divorced from
artwork within the side of Western tradition.

Ipakita ang (11th Slide) LAST SLIDE dala ingun'

*AND THAT’S ALL THANK YOU FOR LISTENING*

HOPE NA DILI MAG QUESTION SI SIR MAHAL PARA OKS NA HAHAHA