Roxy Music performing in Toronto in 1974

Art rock (alternatively spelled art-rock)^[1][2] is a subgenre of rock music that originated in the United Kingdom in the 1960s, with influences from art, avant-garde, and classical music.^[3] The first usage of the term, according to Merriam-Webster Online Dictionary, was in 1968.^[3] Influenced by the work of The Beatles, most notably their album Sgt. Pepper's Lonely Hearts Club Band,^[2] art rock was a form of music which wanted to "extend the limits of rock & roll", and opted for a more experimental and conceptual outlook on music.^[1] Art rock took influences from several genres, notably classical music, yet also jazz in later compositions.^[2] Art rock, due to its classical influences and experimental nature, has often been used synonymously with progressive rock;^[1][4] nevertheless, there are differences between the genres, with progressive putting a greater emphasis on symphony and melody, whilst the former on avant-garde and "novel sonic structure".^[4] Art rock, as a term, can also be used to refer to either classically-driven rock, or a progressive rock-folk fusion,^[1] making it an eclectic genre. Common characteristics of art rock include album-oriented music divided into compositions rather than songs, with usually complicated and long instrumental sections, symphonic orchestration,^[1] and an experimental style. Art rock music was traditionally used within the context of concept records,^[1] and its lyrical themes tended to be "imaginative",^[1] philosophical,^[5] and politically-oriented.^[1]

Whilst art rock developed towards the end of the 1960s, it enjoyed its greatest level of popularity in the early 1970s through groups such as Jethro Tull, Electric Light Orchestra, The Moody Blues and Procol Harum.^[1] Several other more experimental-based rock singers and bands of the time were also regarded as art rock artists.^[1] Art rock's success also continued throughout the 1970s into the 1980s and 90s, and several pop and rock artists and bands of the period, including Peter Gabriel and Kate Bush, incorporated elements of art rock within their work.^[1] Art rock, as well as the theatrical nature of shows and performances associated with the genre, was able to appeal to "artistically inclined" adolescents and younger adults,^[1] especially due to its "virtuosity" and musical "complexity".^[1]

Relationship with progressive and experimental rock[link]

The concept of art rock has also sometimes been used to refer to the progressive rock bands which became popular in the 1970s. Allmusic states that "Progressive rock and art rock are two almost interchangeable terms describing a mostly British attempt to elevate rock music to new levels of artistic credibility."^[4] Additionally, art rock and experimental rock shared much in common, especially with regards to their experimental themes, yet, the latter has been described by Allmusic as "more challenging, noisy and unconventional", and also less classically-influenced than the former, with more of an emphasis on avant-garde music.^[2]

Larry Starr and Christopher Waterman's American Popular Music defines it as a "Form of rock music that blended elements of rock and European classical music. It included bands such as King Crimson; Emerson, Lake & Palmer; and Pink Floyd."^[6] Bruce Eder's essay The Early History of Art-Rock/Prog Rock states that "'progressive rock,' also sometimes known as 'art rock,' or 'classical rock'" is music in which the "bands [are] playing suites, not songs; borrowing riffs from Bach, Beethoven, and Wagner instead of Chuck Berry and Bo Diddley; and using language closer to William Blake or T. S. Eliot than to Carl Perkins or Willie Dixon."^[7]

David Bowie performing in 1978

The Guide to the Progressive Rock Genres lists "art rock" under the subheading "Forms Tangential and Peripheral to Symphonic Rock/Progressive Rock." The guide states that "art rock" is "another term often used interchangeably with progressive rock, [which] implies rock with an exploratory tendency." The guide also gives another definition of "art rock", which "describes music of a more mainstream compositional nature, tending to experimentation within this framework", such as "Early" Roxy Music, David Bowie, Brian Eno's 70s rock music, and Be-Bop Deluxe.^[8]

Connolly and Company argue that the "creation of the 'art rock' sub-genre, whose members were identified by music played with artistic ideals (e.g., Roxy Music, 10cc)... was in many ways a response to prog rock’s long-winded concepts, an attempt to condense progressive rock’s ideas into shorter, self-standing songs." He argues that "Art rock’s lifespan was brief, generally contained to the ‘70s."^[9]

Art rock may be considered "arty" through incorporating some elements of classical "art" music or literature, or simply through eclecticism. Examples of the former include Pink Floyd, The Moody Blues, The Who,^[10][11] The Nice, Emerson, Lake & Palmer, David Bowie, The Velvet Underground, Lou Reed, Kate Bush, The Beach Boys, The Beatles, Peter Gabriel, and Love (Forever Changes) and examples of the latter include Peter Hammill, Roxy Music, Genesis, early Queen,^[12] Doctors of Madness, Fugazi, King Crimson, Tool, and Yes.

History[link]

1960s–1970s[link]

Music critic George Graham argues that "... the so-called Art Rock scene arose" in the 1960s, "when many artists were attempting to broaden the boundaries of rock." He claims that art rock "was inspired by the classically-influenced arrangements and the elaborate production of The Beatles Sgt. Peppers (1967) period" and states that the "style had its heyday in the 1970s with huge commercial success by Yes, and Emerson, Lake & Palmer, and later Genesis." Along with Sgt. Peppers, The Beach Boys concept album Pet Sounds (1966) has also been stated as pioneering the genre with its artistic ambitions.^[13][14][15]

However, Graham notes that art rock "quickly faded when punk rock and then so-called alternative rock arose at the end of that decade, exactly as a reaction to the sophistication, and in many cases, pretense of big, elaborate rock productions, be they art rock or slickly-produced pop singers." Graham claims that since the late 1970s, "art rock has remained at the fringes and become one of many venerable styles...that attracts small numbers of avid fans, and continues to be perpetuated by a combination of some of the original artists and new generations of players."^[16]

Guitarist John Cipollina from Quicksilver Messenger Service

In the UK in 1966, the Scottish band 1-2-3, later renamed Clouds, began experimenting with song structures, improvisation, and multi-layered arrangements which led directly to later bands like Yes, King Crimson, and The Nice.^[17]

In the US, a number of late-1960s bands experimented with "long compositions", with each band "trying to out-psychedelic the other" with unusual sonic experiments. "The Golden Age Of Art Rock" lectures state that the "piece that caused the explosion of Art Rock more than any other, starting in 1968" was Iron Butterfly's "In-A-Gadda-Da-Vida". In response, many other bands sought to emulate this art rock style, such as "Jefferson Airplane, The Steve Miller Band, The Grateful Dead, Quicksilver Messenger Service, H.P. Lovecraft and It's A Beautiful Day." The Steve Miller Band "had quite a lot of Art Rock in the early albums." The lecture argues that the "two main long pieces" by The Doors ("The End" and "When The Music's Over") are "good examples of Art Rock."^[5]

However, in the 1970s, US rock music "moved away from Art Rock", as southern rock bands became popular. Art rock reached its commercial height with the popularity of the aforementioned progressive rock bands, such as King Crimson, Yes, Rush, Genesis, and Pink Floyd. After punk rock put DIY simplicity back in style, and as openly progressive bands drifted toward the mainstream with hit singles and more commercial productions, their art rock designation fell away. Brian Eno has been called the "experimental end of the [art rock] spectrum" for his early 1970s recordings.^[5]

1980s–1990s[link]

This section requires expansion.

Kate Bush and Laurie Anderson were described as art rockers as well as described and marketed as other genres in the United States during this period.^{[5][18][19][20]}

In the 1980s, bands like Talk Talk became prominent in which they inspired the post-rock genre with their albums Spirit of Eden in 1988 and Laughing Stock in 1991, and into the band's incarnation as .O.rang in the 1994-1997. Blur's experimental 13 album in 1999 was seen as an art rock album on occasion, in which they departed further from britpop as they had since 1996 and incorporated noise rock and electronic music.

2000s–2010s[link]

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (February 2010)

In 2000, British rock group Radiohead abandoned their traditional alternative rock sound and instead made an electronic experimental album, Kid A. In 2004, the phrase "art rock" was used by British writers from music publications such as NME to describe a group of new, mostly "indie" bands influenced by the 1970s/1980s work of artists including David Bowie, David Byrne, Tom Verlaine, Peter Gabriel, Kate Bush, and Brian Eno. While other art rock bands such as Deerhoof^[21] generally eschew self-conscious descriptions as "art rock", there is also a continuing subcultural movement of underground, sometimes highly uncommercial music with original roots in punk rock, post-punk or the radical avant-garde whose style or philosophy would fall under common definitions of "art rock". Some of these bands may also be described as experimental rock, while the even more abrasive and abstract acts such as Wolf Eyes and Merzbow may be described as noise music.

See also[link]

• Art punk

Notes[link]

References[link]

• Rockwell, John. "Art Rock" in Henke, James et al. (Eds.) (1992). The Rolling Stone Illustrated History of Rock and Roll: The Definitive History of the Most Important Artists and Their Music. ISBN 0-679-73728-6.
• Stuessy, Joe. Rock and Roll: Its History and Stylistic Development, 5th ed., Upper Saddle River, New Jersey: Prentice Hall, 2003. ISBN 0-13-099370-0

Clockwise from upper left: a self-portrait from Vincent van Gogh, an African Chokwe statue, detail from the Birth of Venus by Sandro Botticelli and a Japanese Shisa lion

Art is a term that describes a diverse range of human activities and the products of those activities, but is most often understood to refer to painting, film, photography, sculpture, and other visual media. Music, theatre, dance, literature, and interactive media are included in a broader definition of art or the arts.^[1] Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences, but in modern usage the fine arts are distinguished from acquired skills in general.

Many definitions of art have been proposed by philosophers and others who have characterized art in terms of mimesis, expression, communication of emotion, or other values. During the Romantic period, art came to be seen as "a special faculty of the human mind to be classified with religion and science".^[2]

The nature of art, and related concepts such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics.^[3]

Definition[link]

Works of art can tell stories or simply express an aesthetic truth or feeling. Panorama of a section of A Thousand Li of Mountains and Rivers, a 12th-century painting by Song Dynasty artist Wang Ximeng.

The Encyclopædia Britannica Online defines art as "the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others". By this definition of the word, artistic works have existed for almost as long as humankind: from early pre-historic art to contemporary art; however, some theories restrict the concept to modern Western societies.^[4] The first and broadest sense of art is the one that has remained closest to the older Latin meaning, which roughly translates to "skill" or "craft." A few examples where this meaning proves very broad include artifact, artificial, artifice, medical arts, and military arts. However, there are many other colloquial uses of the word, all with some relation to its etymology.

20th-century Rwandan bottle. Artistic works may serve practical functions, in addition to their decorative value.

The second and more recent sense of the word art is as an abbreviation for creative art or fine art and emerged in the early 17th century.^[5] Fine art means that a skill is being used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of the finer things.

The word art can describe several things: a study of creative skill, a process of using the creative skill, a product of the creative skill, or the audience's experience with the creative skill. The creative arts (art as discipline) are a collection of disciplines that produce artworks (art as objects) that are compelled by a personal drive (art as activity) and convey a message, mood, or symbolism for the viewer to interpret (art as experience). Art is something that stimulates an individual's thoughts, emotions, beliefs, or ideas through the senses. Artworks can be explicitly made for this purpose or interpreted on the basis of images or objects. Although the application of scientific knowledge to derive a new scientific theory involves skill and results in the "creation" of something new, this represents science only and is not categorized as art.

Often, if the skill is being used in a common or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are sometimes considered applied art. Some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference.^[6] However, even fine art often has goals beyond pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art; to create a sense of beauty (see aesthetics); to explore the nature of perception; for pleasure; or to generate strong emotions. The purpose may also be seemingly nonexistent.

The nature of art has been described by philosopher Richard Wollheim as "one of the most elusive of the traditional problems of human culture".^[7] Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Art as mimesis has deep roots in the philosophy of Aristotle.^[8] Goethe defined art as an other resp. a second nature, according to his ideal of a style founded on the basic fundaments of insight and on the innermost character of things.^[9] Leo Tolstoy identified art as a use of indirect means to communicate from one person to another.^[8] Benedetto Croce and R.G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator.^[10][11] The theory of art as form has its roots in the philosophy of Immanuel Kant, and was developed in the early twentieth century by Roger Fry and Clive Bell. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation.^[12] George Dickie has offered an institutional theory of art that defines a work of art as any artifact upon which a qualified person or institution has conferred "the status of candidate for appreciation".^[13]

History[link]

Venus of Willendorf, circa 24,000–22,000 BP

Sculptures, cave paintings, rock paintings and petroglyphs from the Upper Paleolithic dating to roughly 40,000 years ago have been found, but the precise meaning of such art is often disputed because so little is known about the cultures that produced them. The oldest art objects in the world—a series of tiny, drilled snail shells about 75,000 years old—were discovered in a South African cave.^[14] Containers that may have been used to hold paints have been found dating as far back as 100,000 years.^[15]

Cave painting of a horse from the Lascaux caves, circa 16,000 BP

Many great traditions in art have a foundation in the art of one of the great ancient civilizations: Ancient Egypt, Mesopotamia, Persia, India, China, Ancient Greece, Rome, as well as Inca, Maya, and Olmec. Each of these centers of early civilization developed a unique and characteristic style in its art. Because of the size and duration of these civilizations, more of their art works have survived and more of their influence has been transmitted to other cultures and later times. Some also have provided the first records of how artists worked. For example, this period of Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty, and anatomically correct proportions.

In Byzantine and Medieval art of the Western Middle Ages, much art focused on the expression of Biblical and religious truths, and used styles that showed the higher glory of a heavenly world, such as the use of gold in the background of paintings, or glass in mosaics or windows, which also presented figures in idealized, patterned (flat) forms. Nevertheless a classical realist tradition persisted in small Byzantine works, and realism steadily grew in the art of Catholic Europe.

Renaissance art had a greatly increased emphasis on the realistic depiction of the material world, and the place of humans in it, reflected in the corporeality of the human body, and development of a systematic method of graphical perspective to depict recession in a three-dimensional picture space.

The stylized signature of Sultan Mahmud II of the Ottoman Empire was written in Arabic calligraphy. It reads Mahmud Khan son of Abdulhamid is forever victorious.

The Great Mosque of Kairouan (also called the Mosque of Uqba) is one of the finest, most significant and best preserved artistic and architectural examples of early great mosques; dated in its present state from the 9th century, it is the ancestor and model of all the mosques in the western Islamic lands.^[16] The Great Mosque of Kairouan is located in the city of Kairouan in Tunisia.

In the east, Islamic art's rejection of iconography led to emphasis on geometric patterns, calligraphy, and architecture. Further east, religion dominated artistic styles and forms too. India and Tibet saw emphasis on painted sculptures and dance, while religious painting borrowed many conventions from sculpture and tended to bright contrasting colors with emphasis on outlines. China saw the flourishing of many art forms: jade carving, bronzework, pottery (including the stunning terracotta army of Emperor Qin), poetry, calligraphy, music, painting, drama, fiction, etc. Chinese styles vary greatly from era to era and each one is traditionally named after the ruling dynasty. So, for example, Tang Dynasty paintings are monochromatic and sparse, emphasizing idealized landscapes, but Ming Dynasty paintings are busy and colorful, and focus on telling stories via setting and composition. Japan names its styles after imperial dynasties too, and also saw much interplay between the styles of calligraphy and painting. Woodblock printing became important in Japan after the 17th century.

Painting by Song Dynasty artist Ma Lin, circa 1250. 24,8 × 25,2 cm

The western Age of Enlightenment in the 18th century saw artistic depictions of physical and rational certainties of the clockwork universe, as well as politically revolutionary visions of a post-monarchist world, such as Blake's portrayal of Newton as a divine geometer, or David's propagandistic paintings. This led to Romantic rejections of this in favor of pictures of the emotional side and individuality of humans, exemplified in the novels of Goethe. The late 19th century then saw a host of artistic movements, such as academic art, Symbolism, impressionism and fauvism among others.

The history of twentieth century art is a narrative of endless possibilities and the search for new standards, each being torn down in succession by the next. Thus the parameters of Impressionism, Expressionism, Fauvism, Cubism, Dadaism, Surrealism, etc. cannot be maintained very much beyond the time of their invention. Increasing global interaction during this time saw an equivalent influence of other cultures into Western art, such as Pablo Picasso being influenced by African sculpture. Japanese woodblock prints (which had themselves been influenced by Western Renaissance draftsmanship) had an immense influence on Impressionism and subsequent development. Later, African sculptures were taken up by Picasso and to some extent by Matisse. Similarly, the west has had huge impacts on Eastern art in the 19th and 20th centuries, with originally western ideas like Communism and Post-Modernism exerting a powerful influence on artistic styles.

Modernism, the idealistic search for truth, gave way in the latter half of the 20th century to a realization of its unattainability. Theodor W. Adorno said in 1970, "It is now taken for granted that nothing which concerns art can be taken for granted any more: neither art itself, nor art in relationship to the whole, nor even the right of art to exist."^[17] Relativism was accepted as an unavoidable truth, which led to the period of contemporary art and postmodern criticism, where cultures of the world and of history are seen as changing forms, which can be appreciated and drawn from only with irony. Furthermore the separation of cultures is increasingly blurred and some argue it is now more appropriate to think in terms of a global culture, rather than regional cultures.

Forms, genres, media, and styles[link]

Detail of Leonardo da Vinci's Mona Lisa, showing the painting technique of sfumato

The creative arts are often divided into more specific categories, each related to its technique, or medium, such as decorative arts, plastic arts, performing arts, or literature. Unlike scientific fields, art is one of the few subjects that are academically organized according to technique [2]^{[dead link]}. An artistic medium is the substance or material the artistic work is made from, and may also refer to the technique used. For example, paint is a medium used in painting, and paper is a medium used in drawing.

An art form is the specific shape, or quality an artistic expression takes. The media used often influence the form. For example, the form of a sculpture must exist in space in three dimensions, and respond to gravity. The constraints and limitations of a particular medium are thus called its formal qualities. To give another example, the formal qualities of painting are the canvas texture, color, and brush texture. The formal qualities of video games are non-linearity, interactivity and virtual presence. The form of a particular work of art is determined by the formal qualities of the media, and is not related to the intentions of the artist or the reactions of the audience in any way whatsoever as these properties are related to content rather than form.^[18]

A genre is a set of conventions and styles within a particular medium. For instance, well recognized genres in film are western, horror and romantic comedy. Genres in music include death metal and trip hop. Genres in painting include still life and pastoral landscape. A particular work of art may bend or combine genres but each genre has a recognizable group of conventions, clichés and tropes. (One note: the word genre has a second older meaning within painting; genre painting was a phrase used in the 17th to 19th centuries to refer specifically to paintings of scenes of everyday life and is still used in this way.)

The Great Wave off Kanagawa by Hokusai (Japanese, 1760–1849), colored woodcut print

The original Fountain by Marcel Duchamp, 1917, photographed by Alfred Stieglitz at the 291 after the 1917 Society of Independent Artists exhibit. Stieglitz used a backdrop of The Warriors by Marsden Hartley to photograph the urinal. The exhibition entry tag can be clearly seen.^[19]

The style of an artwork, artist, or movement is the distinctive method and form followed by the respective art. Any loose brushy, dripped or poured abstract painting is called expressionistic. Often a style is linked with a particular historical period, set of ideas, and particular artistic movement. So Jackson Pollock is called an Abstract Expressionist.

A particular style may have specific cultural meanings. For example, Roy Lichtenstein—a painter associated with the American Pop art movement of the 1960s—was not a pointillist, despite his use of dots. Lichtenstein used evenly spaced Ben-Day dots (the type used to reproduce color in comic strips) as a style to question the "high" art of painting with the "low" art of comics, thus commenting on class distinctions in culture. Pointillism, a technique in late Impressionism (1880s) developed especially by the artist Georges Seurat, employs dots to create variation in color and depth in an attempt to approximate the way people really see color. Both artists use dots, but the particular style and technique relate to the artistic movement adopted by each artist.

These are all ways of beginning to define a work of art, to narrow it down. "Imagine you are an art critic whose mission is to compare the meanings you find in a wide range of individual artworks. How would you proceed with your task? One way to begin is to examine the materials each artist selected in making an object, image video, or event. The decision to cast a sculpture in bronze, for instance, inevitably effects its meaning; the work becomes something different from how it might be if it had been cast in gold or plastic or chocolate, even if everything else about the artwork remains the same. Next, you might examine how the materials in each artwork have become an arrangement of shapes, colors, textures, and lines. These, in turn, are organized into various patterns and compositional structures. In your interpretation, you would comment on how salient features of the form contribute to the overall meaning of the finished artwork. [But in the end] the meaning of most artworks... is not exhausted by a discussion of materials, techniques, and form. Most interpretations also include a discussion of the ideas and feelings the artwork engenders."^[20]

Skill and craft[link]

Adam. Detail from Michelangelo's fresco in the Cappella Sistina (1511)

Art can connote a sense of trained ability or mastery of a medium. Art can also simply refer to the developed and efficient use of a language to convey meaning with immediacy and or depth. Art is an act of expressing feelings, thoughts, and observations.^[21] There is an understanding that is reached with the material as a result of handling it, which facilitates one's thought processes. A common view is that the epithet "art", particular in its elevated sense, requires a certain level of creative expertise by the artist, whether this be a demonstration of technical ability, an originality in stylistic approach, or a combination of these two. Traditionally skill of execution was viewed as a quality inseparable from art and thus necessary for its success; for Leonardo da Vinci, art, neither more nor less than his other endeavors, was a manifestation of skill. Rembrandt's work, now praised for its ephemeral virtues, was most admired by his contemporaries for its virtuosity. At the turn of the 20th century, the adroit performances of John Singer Sargent were alternately admired and viewed with skepticism for their manual fluency, yet at nearly the same time the artist who would become the era's most recognized and peripatetic iconoclast, Pablo Picasso, was completing a traditional academic training at which he excelled.

A common contemporary criticism of some modern art occurs along the lines of objecting to the apparent lack of skill or ability required in the production of the artistic object. In conceptual art, Marcel Duchamp's "Fountain" is among the first examples of pieces wherein the artist used found objects ("ready-made") and exercised no traditionally recognised set of skills. Tracey Emin's My Bed, or Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living follow this example and also manipulate the mass media. Emin slept (and engaged in other activities) in her bed before placing the result in a gallery as work of art. Hirst came up with the conceptual design for the artwork but has left most of the eventual creation of many works to employed artisans. Hirst's celebrity is founded entirely on his ability to produce shocking concepts. The actual production in many conceptual and contemporary works of art is a matter of assembly of found objects. However there are many modernist and contemporary artists who continue to excel in the skills of drawing and painting and in creating hands-on works of art.

Value judgment[link]

Aboriginal hollow log tombs. National Gallery, Canberra, Australia

This section may stray from the topic of the article into the topic of another article, Art_(disambiguation). Please help improve this section or discuss this issue on the talk page. (November 2010)

Somewhat in relation to the above, the word art is also used to apply judgments of value, as in such expressions as "that meal was a work of art" (the cook is an artist), or "the art of deception", (the highly attained level of skill of the deceiver is praised). It is this use of the word as a measure of high quality and high value that gives the term its flavor of subjectivity.

Making judgments of value requires a basis for criticism. At the simplest level, a way to determine whether the impact of the object on the senses meets the criteria to be considered art is whether it is perceived to be attractive or repulsive. Though perception is always colored by experience, and is necessarily subjective, it is commonly understood that what is not somehow aesthetically satisfying cannot be art. However, "good" art is not always or even regularly aesthetically appealing to a majority of viewers. In other words, an artist's prime motivation need not be the pursuit of the aesthetic. Also, art often depicts terrible images made for social, moral, or thought-provoking reasons. For example, Francisco Goya's painting depicting the Spanish shootings of 3rd of May 1808 is a graphic depiction of a firing squad executing several pleading civilians. Yet at the same time, the horrific imagery demonstrates Goya's keen artistic ability in composition and execution and produces fitting social and political outrage. Thus, the debate continues as to what mode of aesthetic satisfaction, if any, is required to define 'art'.

The assumption of new values or the rebellion against accepted notions of what is aesthetically superior need not occur concurrently with a complete abandonment of the pursuit of what is aesthetically appealing. Indeed, the reverse is often true, that the revision of what is popularly conceived of as being aesthetically appealing allows for a re-invigoration of aesthetic sensibility, and a new appreciation for the standards of art itself. Countless schools have proposed their own ways to define quality, yet they all seem to agree in at least one point: once their aesthetic choices are accepted, the value of the work of art is determined by its capacity to transcend the limits of its chosen medium to strike some universal chord by the rarity of the skill of the artist or in its accurate reflection in what is termed the zeitgeist.

Art is often intended to appeal to and connect with human emotion. It can arouse aesthetic or moral feelings, and can be understood as a way of communicating these feelings. Artists express something so that their audience is aroused to some extent, but they do not have to do so consciously. Art may be considered an exploration of the human condition; that is, what it is to be human.^[22]

Purpose of art[link]

A Navajo rug made circa 1880

Mozarabic Beatus miniature. Spain, late 10th century

Art has had a great number of different functions throughout its history, making its purpose difficult to abstract or quantify to any single concept. This does not imply that the purpose of Art is "vague", but that it has had many unique, different reasons for being created. Some of these functions of Art are provided in the following outline. The different purposes of art may be grouped according to those that are non-motivated, and those that are motivated (Levi-Strauss).

Non-motivated functions of art[link]

The non-motivated purposes of art are those that are integral to being human, transcend the individual, or do not fulfill a specific external purpose. In this sense, Art, as creativity, is something humans must do by their very nature (i.e., no other species creates art), and is therefore beyond utility.

1. Basic human instinct for harmony, balance, rhythm. Art at this level is not an action or an object, but an internal appreciation of balance and harmony (beauty), and therefore an aspect of being human beyond utility.

   "Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and rhythm, meters being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry." -Aristotle^[23]

2. Experience of the mysterious. Art provides a way to experience one's self in relation to the universe. This experience may often come unmotivated, as one appreciates art, music or poetry.

   "The most beautiful thing we can experience is the mysterious. It is the source of all true art and science." -Albert Einstein^[24]

3. Expression of the imagination. Art provide a means to express the imagination in non-grammatic ways that are not tied to the formality of spoken or written language. Unlike words, which come in sequences and each of which have a definite meaning, art provides a range of forms, symbols and ideas with meanings that are malleable.

   "Jupiter's eagle [as an example of art] is not, like logical (aesthetic) attributes of an object, the concept of the sublimity and majesty of creation, but rather something else – something that gives the imagination an incentive to spread its flight over a whole host of kindred representations that provoke more thought than admits of expression in a concept determined by words. They furnish an aesthetic idea, which serves the above rational idea as a substitute for logical presentation, but with the proper function, however, of animating the mind by opening out for it a prospect into a field of kindred representations stretching beyond its ken." -Immanuel Kant^[25]

4. Ritualistic and symbolic functions. In many cultures, art is used in rituals, performances and dances as a decoration or symbol. While these often have no specific utilitarian (motivated) purpose, anthropologists know that they often serve a purpose at the level of meaning within a particular culture. This meaning is not furnished by any one individual, but is often the result of many generations of change, and of a cosmological relationship within the culture.

   "Most scholars who deal with rock paintings or objects recovered from prehistoric contexts that cannot be explained in utilitarian terms and are thus categorized as decorative, ritual or symbolic, are aware of the trap posed by the term 'art'." -Silva Tomaskova^[26]

Motivated functions of art[link]

Motivated purposes of art refer to intentional, conscious actions on the part of the artists or creator. These may be to bring about political change, to comment on an aspect of society, to convey a specific emotion or mood, to address personal psychology, to illustrate another discipline, to (with commercial arts) to sell a product, or simply as a form of communication.

1. Communication. Art, at its simplest, is a form of communication. As most forms of communication have an intent or goal directed toward another individual, this is a motivated purpose. Illustrative arts, such as scientific illustration, are a form of art as communication. Maps are another example. However, the content need not be scientific. Emotions, moods and feelings are also communicated through art.

   "[Art is a set of] artefacts or images with symbolic meanings as a means of communication." -Steve Mithen^[27]

2. Art as entertainment. Art may seek to bring about a particular emotion or mood, for the purpose of relaxing or entertaining the viewer. This is often the function of the art industries of Motion Pictures and Video Games.
3. The Avante-Garde. Art for political change. One of the defining functions of early twentieth century art has been to use visual images to bring about political change. Art movements that had this goal—Dadaism, Surrealism, Russian Constructivism, and Abstract Expressionism, among others—are collectively referred to as the avante-garde arts.

   "By contrast, the realistic attitude, inspired by positivism, from Saint Thomas Aquinas to Anatole France, clearly seems to me to be hostile to any intellectual or moral advancement. I loathe it, for it is made up of mediocrity, hate, and dull conceit. It is this attitude which today gives birth to these ridiculous books, these insulting plays. It constantly feeds on and derives strength from the newspapers and stultifies both science and art by assiduously flattering the lowest of tastes; clarity bordering on stupidity, a dog's life." -André Breton (Surrealism)^[28]

4. Art for psychological and healing purposes. Art is also used by art therapists, psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing Series, for example, is used to determine the personality and emotional functioning of a patient. The end product is not the principal goal in this case, but rather a process of healing, through creative acts, is sought. The resultant piece of artwork may also offer insight into the troubles experienced by the subject and may suggest suitable approaches to be used in more conventional forms of psychiatric therapy.
5. Art for social inquiry, subversion and/or anarchy. While similar to art for political change, subversive or deconstructivist art may seek to question aspects of society without any specific political goal. In this case, the function of art may be simply to criticize some aspect of society.
   

   

   Spray-paint graffiti on a wall in Rome
   Graffiti art and other types of street art are graphics and images that are spray-painted or stencilled on publicly viewable walls, buildings, buses, trains, and bridges, usually without permission. Certain art forms, such as graffiti, may also be illegal when they break laws (in this case vandalism).
6. Art for propaganda, or commercialism. Art is often utilized as a form of propaganda, and thus can be used to subtly influence popular conceptions or mood. In a similar way, art that tries to sell a product also influences mood and emotion. In both cases, the purpose of art here is to subtly manipulate the viewer into a particular emotional or psychological response toward a particular idea or object.^[29]
7. Art as a fitness indicator. It has been argued that the ability of the human brain by far exceeds what was needed for survival in the ancestral environment. One evolutionary psychology explanation for this is that the human brain and associated traits (such as artistic ability and creativity) are the human equivalent of the peacock's tail. The purpose of the male peacock's extravagant tail has been argued to be to attract females (see also Fisherian runaway and handicap principle). According to this theory superior execution of art was evolutionary important because it attracted mates.^[30]

The functions of art described above are not mutually exclusive, as many of them may overlap. For example, art for the purpose of entertainment may also seek to sell a product, i.e. the movie or video game.

Controversial art[link]

Théodore Géricault's Raft of the Medusa, circa 1820

Théodore Géricault's Raft of the Medusa (c. 1820), was a social commentary on a current event, unprecedented at the time. Édouard Manet's Le Déjeuner sur l'Herbe (1863), was considered scandalous not because of the nude woman, but because she is seated next to men fully dressed in the clothing of the time, rather than in robes of the antique world. John Singer Sargent's Madame Pierre Gautreau (Madam X) (1884), caused a huge uproar over the reddish pink used to color the woman's ear lobe, considered far too suggestive and supposedly ruining the high-society model's reputation.

In the twentieth century, Pablo Picasso's Guernica (1937) used arresting cubist techniques and stark monochromatic oils, to depict the harrowing consequences of a contemporary bombing of a small, ancient Basque town. Leon Golub's Interrogation III (1981), depicts a female nude, hooded detainee strapped to a chair, her legs open to reveal her sexual organs, surrounded by two tormentors dressed in everyday clothing. Andres Serrano's Piss Christ (1989) is a photograph of a crucifix, sacred to the Christian religion and representing Christ's sacrifice and final suffering, submerged in a glass of the artist's own urine. The resulting uproar led to comments in the United States Senate about public funding of the arts.

Art theories[link]

In the nineteenth century, artists were primarily concerned with ideas of truth and beauty. The aesthetic theorist John Ruskin, who championed what he saw as the naturalism of J. M. W. Turner, saw art's role as the communication by artifice of an essential truth that could only be found in nature.^[31]

The definition and evaluation of art has become especially problematic since the 20th century. Richard Wollheim distinguishes three approaches to assessing the aesthetic value of art: the Realist, whereby aesthetic quality is an absolute value independent of any human view; the Objectivist, whereby it is also an absolute value, but is dependent on general human experience; and the Relativist position, whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans.^[32]

The arrival of Modernism in the late nineteenth century lead to a radical break in the conception of the function of art,^[33] and then again in the late twentieth century with the advent of postmodernism. Clement Greenberg's 1960 article "Modernist Painting" defines modern art as "the use of characteristic methods of a discipline to criticize the discipline itself".^[34] Greenberg originally applied this idea to the Abstract Expressionist movement and used it as a way to understand and justify flat (non-illusionistic) abstract painting:

Realistic, naturalistic art had dissembled the medium, using art to conceal art; modernism used art to call attention to art. The limitations that constitute the medium of painting—the flat surface, the shape of the support, the properties of the pigment—were treated by the Old Masters as negative factors that could be acknowledged only implicitly or indirectly. Under Modernism these same limitations came to be regarded as positive factors, and were acknowledged openly.^[34]

After Greenberg, several important art theorists emerged, such as Michael Fried, T. J. Clark, Rosalind Krauss, Linda Nochlin and Griselda Pollock among others. Though only originally intended as a way of understanding a specific set of artists, Greenberg's definition of modern art is important to many of the ideas of art within the various art movements of the 20th century and early 21st century.

Pop artists like Andy Warhol became both noteworthy and influential through work including and possibly critiquing popular culture, as well as the art world. Artists of the 1980s, 1990s, and 2000s expanded this technique of self-criticism beyond high art to all cultural image-making, including fashion images, comics, billboards and pornography.

Classification disputes[link]

Disputes as to whether or not to classify something as a work of art are referred to as classificatory disputes about art.

Classificatory disputes in the 20th century have included cubist and impressionist paintings, Duchamp's Fountain, the movies, superlative imitations of banknotes, conceptual art, and video games.^[35]

Philosopher David Novitz has argued that disagreement about the definition of art are rarely the heart of the problem. Rather, "the passionate concerns and interests that humans vest in their social life" are "so much a part of all classificatory disputes about art" (Novitz, 1996). According to Novitz, classificatory disputes are more often disputes about societal values and where society is trying to go than they are about theory proper. For example, when the Daily Mail criticized Hirst's and Emin's work by arguing "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all" they are not advancing a definition or theory about art, but questioning the value of Hirst's and Emin's work.^[36] In 1998, Arthur Danto, suggested a thought experiment showing that "the status of an artifact as work of art results from the ideas a culture applies to it, rather than its inherent physical or perceptible qualities. Cultural interpretation (an art theory of some kind) is therefore constitutive of an object's arthood."^[37][38]

Anti-art is a label for art that intentionally challenges the established parameters and values of art;^[39] it is term associated with Dadaism and attributed to Marcel Duchamp just before World War I,^[39] when he was making art from found objects.^[39] One of these, Fountain (1917), an ordinary urinal, has achieved considerable prominence and influence on art.^[39] Anti-art is a feature of work by Situationist International,^[40] the lo-fi Mail art movement, and the Young British Artists,^[39] though it is a form still rejected by the Stuckists,^[39] who describe themselves as anti-anti-art.^[41][42]

Art, class, and value[link]

Versailles: Louis Le Vau opened up the interior court to create the expansive entrance cour d'honneur, later copied all over Europe.

Art is sometimes perceived as belonging exclusively to higher social classes. In this context, art is seen as an upper-class activity associated with wealth, the ability to purchase art, and the leisure required to pursue or enjoy it. The Palace of Versailles and the Hermitage in St. Petersburg illustrate this view: such vast collections of art are the preserve of the rich, of governments and wealthy organizations.

Fine and expensive goods have been popular markers of status in many cultures, and they continue to be so today. There has been a cultural push in the other direction since at least 1793, when the Louvre, which had been a private palace of the Kings of France, was opened to the public as an art museum during the French Revolution. Most modern public museums and art education programs for children in schools can be traced back to this impulse to have art available to everyone. Museums in the United States tend to be gifts from the very rich to the masses (The Metropolitan Museum of Art in New York City, for example, was created by John Taylor Johnston, a railroad executive whose personal art collection seeded the museum.) But despite all this, at least one of the important functions of art in the 21st century remains as a marker of wealth and social status.

Performance by Joseph Beuys, 1978: Everyone an artist — On the way to the libertarian form of the social organism

There have been attempts by artists to create art that can not be bought by the wealthy as a status object. One of the prime original motivators of much of the art of the late 1960s and 1970s was to create art that could not be bought and sold. It is "necessary to present something more than mere objects"^[43] said the major post war German artist Joseph Beuys. This time period saw the rise of such things as performance art, video art, and conceptual art. The idea was that if the artwork was a performance that would leave nothing behind, or was simply an idea, it could not be bought and sold. "Democratic precepts revolving around the idea that a work of art is a commodity impelled the aesthetic innovation which germinated in the mid-1960s and was reaped throughout the 1970s. Artists broadly identified under the heading of Conceptual art... substituting performance and publishing activities for engagement with both the material and materialistic concerns of painted or sculptural form... [have] endeavored to undermine the art object qua object."^[44]

In the decades since, these ideas have been somewhat lost as the art market has learned to sell limited edition DVDs of video works,^[45] invitations to exclusive performance art pieces, and the objects left over from conceptual pieces. Many of these performances create works that are only understood by the elite who have been educated as to why an idea or video or piece of apparent garbage may be considered art. The marker of status becomes understanding the work instead of necessarily owning it, and the artwork remains an upper-class activity. "With the widespread use of DVD recording technology in the early 2000s, artists, and the gallery system that derives its profits from the sale of artworks, gained an important means of controlling the sale of video and computer artworks in limited editions to collectors."^[46]

See also[link]

	Arts portal
	Visual arts portal

	Book: Art
Wikipedia books are collections of articles that can be downloaded or ordered in print.

• Art movement
• Artist in residence
• Formal analysis
• List of artistic media
• Outline of the visual arts

Notes[link]

Bibliography[link]

• Arthur Danto, The Abuse of Beauty: Aesthetics and the Concept of Art. 2003
• Dana Arnold and Margaret Iverson (eds.) Art and Thought. Oxford: Basil Blackwell, 2003.
• Michael Ann Holly and Keith Moxey (eds.) Art History and Visual Studies. Yale University Press, 2002.
• John Whitehead. Grasping for the Wind. 2001
• Noel Carroll, Theories of Art Today. 2000
• Evelyn Hatcher, ed. Art as Culture: An Introduction to the Anthropology of Art. 1999
• Catherine de Zegher (ed.). Inside the Visible. MIT Press, 1996.
• Nina, Felshin, ed. But is it Art? 1995
• Stephen Davies, Definitions of Art. 1991
• Oscar Wilde, "Intentions".
• Jean Robertson and Craig McDaniel, "Themes of Contemporary Art, Visual Art after 1980." 2005

Further reading[link]

Wikimedia Commons has media related to: Art

• Augros, Robert M., Stanciu, George N., The New Story of Science: mind and the universe, Lake Bluff, Ill.: Regnery Gateway, c1984. ISBN 0-89526-833-7 (this book has significant material on Art and Science)
• Richard Wollheim, Art and its Objects
• Carl Jung, Man and His Symbols
• Benedetto Croce, Aesthetic as Science of Expression and General Linguistic, 1902
• Władysław Tatarkiewicz, A History of Six Ideas: an Essay in Aesthetics, translated from the Polish by Christopher Kasparek, The Hague, Martinus Nijhoff, 1980.
• Leo Tolstoy, What Is Art?, 1897
• Kleiner, Gardner, Mamiya and Tansey (2004). Art Through the Ages, Twelfth Edition (2 volumes). Wadsworth. ISBN 0-534-64095-8 (vol 1) and ISBN 0-534-64091-5 (vol 2). 
• Kristine Stiles and Peter Selz, eds., Theories and Documents of Contemporary Art. Berkeley: University of California Press, 1996.
• Florian Dombois, Ute Meta Bauer, Claudia Mareis and Michael Schwab, eds., Intellectual Birdhouse. Artistic Practice as Research. London: Koening Books, 2011.
• Dana Arnold and Margaret Iverson, eds., Art and Thought. London: Blackwell, 2003.
• Antony Briant and Griselda Pollock, eds., Digital and Other Virtualities. NY: I.B.Tauris, 2010.
• Carol Armstron and Catherine de Zegher, eds., Women Artists at the Millenium. Massachusetts: October Books/The MIT Press, 2006.

External links[link]

Find more about art on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons
	Learning resources from Wikiversity
	News stories from Wikinews
	Quotations from Wikiquote
	Source texts from Wikisource
	Textbooks from Wikibooks

• Art and Play from the Dictionary of the History of ideas
• In-depth directory of art
• Art and Artist Files in the Smithsonian Libraries Collection (2005) Smithsonian Digital Libraries
• Visual Arts Data Service (VADS) – online collections from UK museums, galleries, universities
• RevolutionArt – Art magazines with worldwide exhibitions, callings and competitions
• The Definition of Art entry by Thomas Adajian in the Stanford Encyclopedia of Philosophy

Look up Rock, The Rock, rock music, or rock in Wiktionary, the free dictionary.

Rock usually refers to:

• Rock (geology), naturally occurring solid aggregate of minerals and/or mineraloid
• Rock music, form of popular music

It can also refer to:

Geology[link]

• Rock (geology), naturally occurring solid aggregate of minerals and/or mineraloids
• Rock salt or halite, mineral form of sodium chloride

People[link]

• Rock (name), several people

Fictional characters[link]

• Rock (comics), a fictional character in the DC Comics universe
• Rock (manga character), a recurrent major character in most of Osamu Tezuka's manga series
• Robert Orin Charles Kilroy (ROCK), from the Styx rock opera Kilroy was here - see Mr. Roboto

Music[link]

• Rock music, form of popular music
• Rocks (album), by Aerosmith
• Rocks (Harem Scarem album), 2001
• "The Rock" instrumental song by The Who from Quadrophenia
• "Rocks" (song), by Primal Scream
• "Rock", one of the tracks on "Soft/Rock", a single by Lemon Jelly
• Rock (Casting Pearls EP), by Casting Pearls
• The Rock (Rachmaninoff), an orchestral composition
• The Rock (The Frankie Miller Band album), the third album from The Frankie Miller Band
• The Rock (John Entwistle album), the sixth solo album by John Entwistle, bassist for The Who
• The Rock (Tracy Lawrence album), the tenth studio album by American country music artist Tracy Lawrence
• The Rocks (band), a former UK indie rock band
• "The Rock", a song by Atomic Rooste from In Hearing of Atomic Rooster

Entertainment[link]

• Another term for uprock, a form of street dance
• The Rock (film), 1996 film starring Sean Connery and Nicolas Cage directed by Michael Bay
• The Rock (play), T.S. Eliot's 1934 pageant play

Places[link]

Australia[link]

• The Rocks, New South Wales, a locality in Sydney, Australia
• The Rock, New South Wales, a town in southern New South Wales

Canada[link]

• The Rocks or Hopewell Rocks, New Brunswick, a coastal formation
• Newfoundland (island), Canada

United Kingdom[link]

• Rock, Cornwall, village in Cornwall, England
• Rock, Northumberland, village in Northumberland, England
• Rock, West Sussex
• Rock, Worcestershire, village in Worcestershire, England
• Lewis, an island in the Outer Hebrides, Scotland
• Rock, County Tyrone – a small village in County Tyrone, Northern Ireland

United States[link]

• Kodiak Island, Alaska
• The Rock or Alcatraz Island, small island in San Francisco Bay, California, United States
• The Rock, Georgia
• The Rock (Northwestern University), a landmark at Northwestern University in Evanston, Illinois
• Rock Island, Illinois, county seat of Rock Island County, Illinois, United States
• Memorial Stadium (Indiana), on the Indiana University campus
• Rock, Kansas, unincorporated community in Cowley County, Kansas, United States
• The Rock (Michigan State University), a boulder on the campus of Michigan State University
• Rock Township, Benson County, North Dakota, civil township in United States
• The Rocks or McKees Rocks, Pennsylvania, a borough
• Rock, West Virginia, a community in Mercer County, West Virginia, United States
• Rock County, Wisconsin, county in United States
• Rock, Rock County, Wisconsin, town in Rock County, Wisconsin, United States
• Rock, Wood County, Wisconsin, town in Wood County, Wisconsin, United States

Other Places[link]

• "The Rock" is a poetic and popular term for Bermuda.
• The Rock or Gibraltar, British overseas territory near the southernmost tip of the Iberian Peninsula (Spain)
• Corregidor, an island in the Philippines
• Niue, an island near Tonga
• Rockall, a islet in the Atlantic Ocean, part of the United Kingdom
• Tutuila, the main island of American Samoa
• Marine Corps Base Camp Smedley D. Butler, a Marine Corps Base Camp in Okinawa Japan
• Foundation Stone, the rock inside Jerusalem's Dome of the Rock
• Newark's Prudential Center, nicknamed "The Rock" due to Prudential Financial's logo

Food[link]

• Rock candy, type of confectionery composed of large sugar crystals
• Rock (confectionery), type of stick-shaped boiled sugar confectionery
• Edinburgh rock, stick-shaped Scottish confection, notably different from ordinary rock
• Plymouth Rock (chicken), breed of chicken
• Rock salmon, Often referred to as Rock. Sold in UK fish and chip shops.

Computers[link]

• Rock (processor), microprocessor by Sun Microsystems
• Rocks Cluster Distribution, Linux distribution for cluster computing
• Rocks (PHP)

Sports[link]

• Rock, used in the sport of Curling
• The Rock (rugby team) or Atlantic Rock, a rugby union team based in St. John's, Newfoundland & Labrador, Canada
• The Rocks or the Scottish Rocks, a basketball team
• "The Rock," nickname of the athletic teams of Slippery Rock University of Pennsylvania
• "Rock" is a slang term for a basketball.

Other uses[link]

• ROCK1, human gene
• Rock or islet, small island
• Rock, or distaff, a tool used in spinning
• Rock, slang term for crack cocaine
• The Rock, a headland occupied by the original fortified town of Monaco, today's Monaco-Ville
• The Rock or Chicago, Rock Island and Pacific Railroad, former Class I railroad in the United States
• The Rocks, Inc., US military officers' organization
• The Rock (New Zealand), a New Zealand rock music radio station

See also[link]

• All pages beginning with "Rock"
• All pages with titles containing "Rock"
• Rock of Ages (disambiguation)
• Rock and roll (disambiguation)
• Rockman or Mega Man
• Rok (disambiguation)
• ROC (disambiguation)
• Roque (disambiguation)
• Rockfish (disambiguation)
• Rock River (disambiguation)
• David Rock (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2009)

Graham Hancock
Born	(1950-08-02)August 2, 1950 (age 61) Edinburgh, Scotland, UK
Nationality	British
Citizenship	British
Alma mater	Durham University
Occupation	Author
Known for	Author, The Sign and the Seal, Fingerprints of the Gods, The Message of the Sphinx

Graham Hancock (born 2 August 1950 in Edinburgh, Scotland) is a British writer and journalist. Hancock specialises in unconventional theories ^[1] involving ancient civilizations, stone monuments or megaliths, altered states of consciousness, ancient myths and astronomical/astrological data from the past. One of the main themes running through many of his books is the possible global connection with a "mother culture" from which he believes all ancient historical civilizations sprang.^[2]

Biography[link]

Born in Edinburgh, Scotland, Hancock's formative years were spent in India, where his father worked as a surgeon. Having returned to the UK, he graduated from Durham University in 1973, receiving a First Class Honours degree in Sociology.

As a journalist, Hancock worked for many British papers, such as The Times, The Sunday Times, The Independent, and The Guardian. He was co-editor of New Internationalist magazine from 1976–1979 and East Africa correspondent of The Economist from 1981-1983.

Works[link]

Hancock sees himself as a journalist who asks questions based upon observation and as someone who provides a counterbalance to what he perceives as the "unquestioned" acceptance and support given to orthodox views by the education system, the media, and by society at large.^[3] His books include Lords of Poverty, The Sign and the Seal, Fingerprints of the Gods, Keeper of Genesis (released in the US as Message of the Sphinx), The Mars Mystery, Heaven's Mirror (with wife Santha Faiia), Underworld: The Mysterious Origins of Civilization, and Talisman: Sacred Cities, Secret Faith (with co-author Robert Bauval). In 1996 he appeared in The Mysterious Origins of Man.^[4] He also wrote and presented the documentaries Underworld: Flooded Kingdoms of the Ice Age (2002) and Quest for the Lost Civilisation (1998) ^[5] shown on Channel 4. In Hancocks's book Talisman: Sacred Cities, Secret Faith,^[6] co-authored with Robert Bauval, the two put forward "a version of the old Jewish-Masonic plot so beloved by ultra-right-wing conspiracy theorists."^[7] They suggest a connection between the pillars of Solomon's Temple and the Twin Towers, and between the Star of David and The Pentagon.^[8]

Hancock's most recent non-fiction book, Supernatural: Meetings With the Ancient Teachers of Mankind, was published in the UK in October 2005 and in the US in 2006. In it, Hancock examines paleolithic cave art in the light of David Lewis-Williams' neuropsychological model, exploring its relation to the development of the fully modern human mind.

His first novel, Entangled: The Eater of Souls, the first in a fantasy series, was published in the UK in April 2010 and in the US in October 2010. The novel makes use of Hancock's prior research interests and as he has noted, "What was there to lose, I asked myself, when my critics already described my factual books as fiction?"

Although his books have sold more than five million copies worldwide and have been translated into twenty-seven languages, his methods and conclusions have found little support among academics, his work being labelled "pseudoarchaeology".^[1][9][10]

Orion Correlation Theory[link]

Representation of the central tenet of the OCT - the outline of the Giza pyramids superimposed over a photograph of the stars in Orion's Belt. To achieve this concordance the pyramids have been rotated and scaled to suit. The validity of this match has been called into question by Hancock's critics, as noted in the text.

One of the many recurring themes in several of Hancock's works has been an exposition on the "Orion Correlation Theory" (or OCT),^[11][12] first put forward by Belgian writer Robert Bauval and then further expounded in collaborative works with Hancock, as well as in their separate publications.

[edit] BBC Horizon controversy

BBC 2's Horizon TV series broadcast a programme, Atlantis Reborn, on 4 November 1999 that challenged the ideas presented by Hancock. It detailed one of Hancock's claims that the arrangement of an ancient temple complex was designed to mirror astronomical features and attempted to demonstrate that the same thing could be done with perhaps equal justification using famous landmarks in New York. It also alleged that Hancock had selectively moved or ignored the locations of some of the temples to fit his own theories (see below).^[13]

Hancock claimed he was misrepresented by the programme, and he and Robert Bauval made complaints to the Broadcasting Standards Commission against the way Horizon had portrayed them and their work. Eight points were raised by Hancock, two by Bauval (one of which duplicated a complaint of Hancock's).^[14] This included the complaint that:

The programme attempted to create the impression that he [Hancock] was an intellectual fraudster who had put forward half baked theories and ideas in bad faith, and that he was incompetent to defend his own arguments.^[15]

The BSC dismissed all but one of the complaints. Overall, the BSC concluded that "the programme makers acted in good faith in their examination of the theories of Mr Hancock and Mr Bauval".^[16] The complaint which was upheld was that

The programme unfairly omitted one of their arguments in rebuttal of a speaker who criticised the theory of a significant correlation between the Giza pyramids and the belt stars of the constellation Orion (the "correlation theory")

which the Commission did find to be unfair. That speaker was the astronomer Edwin Krupp. Krupp accused Bauval of fudging the maps of Orion and the Pyramids by placing them upside down in order to make the theory work.^[17] In interviews filmed in the later and modified Horizon documentary Atlantis Reborn Again shown on 14 December 2000, Hancock and Bauval provided detailed rebuttals to Krupp and argued that the ancient Egyptians had made the Pyramids correlate in the most obvious and intuitive manner with the three stars of Orion's Belt, that Orion could only be seen at the highest point in the sky by the Egyptians looking in a southward direction and a work of symbolic and religious art. A counter argument was provided on Atlantis Reborn Again to Bauval and Hancock's responses to Krupp's statements.

According to Graham Hancock, Krupp's criticism was rejected by two prominent British astronomers, Dr. Percy Seymour of Plymouth University and Dr. Archie Roy, professor Emeritus at Glasgow University.^[18]

Cultural references[link]

In 2009, Roland Emmerich released his blockbuster disaster movie 2012 citing Fingerprints of the Gods in the credits as an inspiration for the film,^[19] stating: "I always wanted to do a biblical flood movie, but I never felt I had the hook. I first read about the Earth's Crust Displacement Theory in Graham Hancock's Fingerprints of the Gods." ^[20] Also in 2009, author Geoff Stray released his best-selling book "Beyond 2012: Catastrophe or Awakening?" in which he cites Graham Hancock as one of his inspirations and as a guidepost to point others to do their own investigation into the wonder of ancient societies.^[21]

Books[link]

• Hancock, Graham (1985). Ethiopia: The Challenge of Hunger. London: V. Gollancz. ISBN 0-575-03680-X. 
• Hancock, Graham; Enver Carim (1986). AIDS: The Deadly Epidemic. London: V. Gollancz. ISBN 0-575-03837-3. 
• Hancock, Graham (1989). Lords of Poverty: The Power, Prestige, and Corruption of the International Aid Business. Boston: Atlantic Monthly Press. ISBN 0-87113-253-2. 
• Hancock, Graham (1992). The Sign and the Seal: The Quest for the Lost Ark of the Covenant. New York: Crown. ISBN 0-517-57813-1. 
• Hancock, Graham (1995). Fingerprints of the Gods: The Evidence of Earth's Lost Civilization. New York: Crown Publishers. ISBN 0-517-59348-3. 
• Hancock, Graham; Robert Bauval (1996). The Message of the Sphinx: A Quest for the Hidden Legacy of Mankind. New York: Crown Publishers. ISBN 0-517-70503-6.  Published in the United Kingdom as Hancock, Graham; Robert Bauval (1996). Keeper of Genesis: A Quest for the Hidden Legacy of Mankind. London: Heinemann. ISBN 0-434-00302-6. 
• Hancock, Graham (1998). The Mars Mystery: A Tale of the End of Two Worlds. London: Michael Joseph. ISBN 0-7181-4314-0. 
• Hancock, Graham; Santha Faiia (1998). Heaven's Mirror: Quest for the Lost Civilization. New York: Crown Publishers. ISBN 0-517-70811-6. 
• Hancock, Graham; Santha Faiia (2001). Fingerprints of the Gods: The Quest Continues (New Updated Edition). New York: Crown Century. ISBN 0-7126-7906-5. 
• Hancock, Graham (2002). Underworld: The Mysterious Origins of Civilization. New York: Crown. ISBN 1-4000-4612-2. 
• Hancock, Graham; Robert Bauval (2004). Talisman: Sacred Cities, Secret Faith. Tisbury: Element Books. ISBN 0-00-719036-0. 
• Hancock, Graham (2005). Supernatural: Meeting with the Ancient Teachers of Mankind. London: Century. ISBN 1-84413-681-7. 
• Hancock, Graham (2010). Entangled: The Eater of Souls. New York: The Disinformation Company. ISBN 978-1-934708-56-9. 

See also[link]

• Archaeoastronomy
• Erich von Däniken
• Mythology
• Zahi Hawass

References[link]