HIGH ART

NOITACILPPA TRA
VS.
LOW ART
 HIGH/LOW ART
construed as a distinction between groups of
forms or genres, comes this certain traditional
forms, those associated with the modern
system, are thought as high art whereas the new
forms are thought to be low art. EXAMPLE
High art : Theatre
Low art : Movies
HIGH ART
Appreciated by those with the
most cultivated taste.

EXAMPLES
museum paintings
classical music
poetry
Distinction between high
art vs low art the same
with art vs non-art 
"IF THE DISTINCTION BETWEEN HIGH ART AND LOW
ART IS LIKE THE DISTINCTION BETWEEN ART AND NON-
ART, THEN WHY DO WE NEED BOTH DISTINCTIONS?..."
-COHEN,1993
High art vs Low art ≠ Good art vs Bad art
HIGH/LOW ART IS BASED ON DISTINCTION OF
TASTE. DISTINCTION OF HIGH/LOW ART IS
NARROWER THAN THE DISTINCTION BETWEEN
HIGH/LOW CULTURE. HE THINKS THAT EACH PUBLIC
AS PREFERRING AND CONSUMING DIFFERENT ART
FORMS. -HERBERT GANS
 cilbup
etsaT
HIGH CULTURE

UPPER-MIDDLE CULTURE

LOWER-MIDDLE CULTURE USERS WHO MAKE

SIMILAR CHOICES OF
VALUES AND TASTE
LOW CULTURE CULTURE CONTENT
WILL BE DESCRIBED AS
PUBLICS OF AN
QUASI-FOLK LOW CULTURE INDIVIDUAL TASTE
CULTURE.
SUOIVBO TON
Talk radio shows
SELPMAXEAds on Tv
Designer table settings
Board games
Automobiles
:TRA FO
Accordingly, although mass artworks are artworks by
definition, it is not necessary for the theorist of mass
art to determine which products of mass culture are
mass artworks; His focus is rather on noting the way
art has expanded to include mass culture.
ENTERTAINMENT:
Entertainment works might be regarded as low art because
they were made for unsophisticated consumers or because
they tend to be elementary in form and content
2 CASES OF ENTERTAINMENT THAT MAY
PROVIDE EXAMPLES OF LOW ART:
1. WORKS THAT ARE PRIMARILY ENTERTAINMENT
PRODUCTS
2. ARTWORKS IN MORE TRADITIONAL ART FORMS
INFLUENCED BY ENTERTAINMENT VALUES
Mass Art
NOEL CAROLL (1998) ARGUES THAT THE KEY THEORETICAL CONCEPT
IS NOT POPULAR ART BUST MASS ART. IT IS DEFINED AS ART THAT IS
MASS-PRODUCED AND DISTRIBUTED IN MULTIPLE QUANTITIES. “SPECIES”
OF POPULAR ART, IT IS FOR THE COMMON PEOPLE OR IT IS LIKED BY LOTS
OF PEOPLE
CAROLL’S THEORIZING BEGINS WITH THE MANY CRITICISM OF
POPULAR AND MASS ART THAT HAVE BEEN OFFERED BY PROMINENT
20TH CENTURY THINKERS       
MASSIFICATION       
PASSIVITY 
FORMULAIC    
AUTONOMY
 IS THE HIGH/LOW
DISTINCTION
REAL?
COHEN (1999) BELIEVES THERE ARE ALSO TWO
CLASSES OF WORK, HE
FINDS THEM AS HAVING NO SUPERIOR VALUE OVER
THE OTHER, MEETS IMPORTANT BUT
DIFFERENT AESTHETIC NEEDS; PLURALISTIC
HEIRARCHICALISM