As Kaplan concludes, he considers the social functions of popular art. He sees its appeal in finding a common denominator among people. It is popular because it appeals to almost universal tastes. As to its function, popular art is no longer associated with serious cultural concerns, such as religion, love, war and politics, and the… Continue Reading
Popular art is accused of being escapist. Kaplan agrees and disagrees. He argues that popular art seeks to escape the ugliness or troubles of this world, but it does so differently to serious art. Art may give us an idealized depiction of the world, but it seeks to transform the reality of the world. Real… Continue Reading
Kaplan disputes the idea that popular art provides relief from boredom. In one very real sense, it perpetuates it. The key difference between serious or useful art and popular art is that popular art provides an emotional experience without perspective. The consumer feels, but he feels without understanding. He has little perspective on his feelings,… Continue Reading
Kaplan begins by defining what he means by the popular arts. In his definition, popular arts does not refer to: 1) Pop art, the dadaistic art movement that emerged in the 1950s. 2) Bad art. A work of art might fail in what it attempts to do, it might not succeed in what it attempts… Continue Reading