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Not all writers in art education have taken a positive position in regard to the popular arts. An opinion exists that fine art objects

are the only objects with the power to impart a markedly aesthetic aspect to human experience. Certain scholars "refuse to cheapen

art's magnificent and supreme excellence by comparing it to comic strips and other essentially vulgar commodities", claiming that

popular culture was the result of the public's inability to appreciate high art. Even those who recognize popular arts as art forms sug-

gest that the schools should go beyond them, because "serious art" makes more demands on the viewer.

Some art educators argue that concepts of fine art and popular art are relative and that the distinction between the two is slight if

not illusory. What we see in art museums and art galleries includes a lot of different things from all over the world, from cultures and

periods of time in which the concept of art, as we know it, did not exist. In their original contexts, such objects often served a variety

of functions, such as magical, ritualistic, narrative, or utilitarian but almost never aesthetic.

It is well known that many of the things we regard so highly today, such as Gothic cathedrals, El Grecos, Rembrandts, Goyas or

Cezannes, were ignored or scorned at different periods of time. Many things we ignore or scorn today, such as the work of the French

or Royal Academies in the 19th century, were at one time highly regarded. A work's reputation can be affected precipitously by the

accident of reattribution. A highly regarded Rembrandt, subsequently discovered to be not by Rembrandt drops in value immediately.

The same thing can happen in reverse. Finally, there are cases in which objects have lost not only their monetary and intrinsic value,

but also their status as art objects because they are fakes

18. Discuss the text in pairs. One partner will take the optimistic view and insist that popular arts should be included in the art curriculum. The

other will defend the opposite point of view.

Consider the following

F o r :

responsive to the forms of art which the teacher wishes to

1. The differences between popular and fine art are often

introduce.

matters of classification.

2. Popular art facilitates the aesthetic experience and therefore

A g a i n s t :

is appropriate for study in the field of art education.

1. Fine arts in each epoch supplied the models from which the

3.The content of the popular arts is of relevance to the

rules and principles were derived.

students and, through art criticism, can lead to a more

penetrating analysis of these and other art forms.

2. Fine arts are more noble, more worthy than all the other

opportunities available for visual aesthetic experience

4.The popular arts allow students to talk about

around us.

emotionally meaningful experiences.

3.Tastes should be developed through images of high artistic

5.They can aid the student's understanding of his culture as

culture, whereas works of popular culture as a rule meet