Fine art

In Western European academic traditions, fine art is art developed primarily for aesthetics or beauty, distinguishing it from applied art that also has to serve some practical function.

Historically, the five main fine arts were painting, sculpture, architecture, music and poetry, with performing arts including theatre and dance. Today, the fine arts commonly include additional forms, such as film, photography, conceptual art, and printmaking. However, in some institutes of learning or in museums, fine art and frequently the term fine arts (pl.) as well, are associated exclusively with visual art forms.

One definition of fine art is "a visual art considered to have been created primarily for aestheticand intellectual purposes and judged for its beauty and meaningfulness, specifically, painting, sculpture, drawing, watercolor, graphics, and architecture." In that sense, there are conceptual differences between the fine arts and the applied arts. As originally conceived, and as understood for much of the modern era, the perception of aesthetic qualities required a refined judgment usually referred to as having good taste, which differentiated fine art from popular art and entertainment. However, in the Postmodern era, the value of good taste is disappearing, to the point that having bad taste has become synonymous with being avant-garde. The term "fine art" is now rarely found in art history, but remains common in the art trade and as a title for university departments and degrees, even if rarely used in teaching.

High culture

"High culture" is a term now used in a number of different ways in academic discourse, whose most common meaning is the set of cultural products, mainly in the arts, held in the highest esteem by a culture.

In more popular terms, it is the culture of an upper class such as an aristocracy or an intelligentsia, but it can also be defined as a repository of a broad cultural knowledge, a way of transcending the class system. It is contrasted with the low culture or popular culture of, variously, the less well-educated, barbarians, Philistines, or the masses. Still similarities can be noted between high culture and folk culture as they can be all conceived as the repository of shared and accumulated traditions functioning as a living continuum between the past and present.

Concept

Although it has a longer history in Continental Europe, the term was introduced into English largely with the publication in 1869 of Culture and Anarchy by Matthew Arnold, although he most often uses just "culture". Arnold defined culture as "the disinterested endeavour after man's perfection" (Preface) and most famously wrote that having culture meant to "know the best that has been said and thought in the world"—a specifically literary definition, also embracing Philosophy, which is now rather less likely to be considered an essential component of High Culture, at least in the English-speaking cultures. Arnold saw high culture as a force for moral and political good, and in various forms this view remains widespread, though far from uncontested. The term is contrasted with popular culture or mass culture and also with folk culture, but by no means implies hostility to these.

High Art

High Art is a 1998 Canadian-American independent film directed by Lisa Cholodenko and starring Ally Sheedy and Radha Mitchell.

Synopsis

Sydney (or simply "Syd"), age 24, is a woman who has her whole life mapped out in front of her. Living with longtime boyfriend James, and working her way up at the respected high-art photography magazine Frame, Syd has desires and frustrations that seem typical and manageable. But when a crack in her ceiling springs a leak and Syd finds herself knocking on the door of her upstairs neighbor, a chance meeting suddenly takes her on a new path.

Opening the door to an uncharted world for Syd is Lucy Berliner, a renowned photographer, enchanting, elusive, and curiously retired. Now 40, Lucy lives with her once glamorous, heroin-addicted German girlfriend Greta, and plays host to a collection of hard-living party kids. Syd is fascinated by Lucy and becomes drawn into the center of Lucy's strangely alluring life upstairs.

Syd mentions Lucy to her bosses (without realising that she is famous) but they remain uninterested until they realise exactly who Lucy is. At a lunch, Lucy agrees to work for the magazine as long as Syd is her editor. Soon a working relationship develops between the two and a project is underway which promises a second chance for Lucy's career. But as Syd and Lucy's collaboration draws them closer together, their working relationship turns sexual and the lines between love and professionalism suddenly blur. As Syd slowly discovers the darker truths of Lucy's life on the edge, she is forced to confront her own hunger for recognition and the uncertain rewards of public esteem.