High Art VS Mass Art

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Fisher implies that piece is considered high art based on whether its type is known historically or traditionally high art. High art requires anyone to have more knowledge to understand and admire it, and low art can simply be absorbed and valued without effort and low art makes little moral or intellectual demands upon us. This cannot be denied that to fully appreciate high art requires education. If we abstain from giving a work of true art status, Fisher explanations, ‘it’s natural to assume of the term that overlaps with high art as denoting objects that aren’t really art.
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’ For this, the high-low art is more likely art and non-art distinction.
Fisher argues that we do not just presume that the high-low differentiation is just like differentiating between good and bad art, the fact how this distinction works essentially like art — non-art differentiation does in fact propose a hierarchy of forms of expression. One of the criteria used by scholars to differentiate high art from low art is the belief that mass art is much more available both logistically and cognitively, and therefore there is no problem with the use of low art as mass art on the grounds of this situation either.

Low art are often developed by mass seems to be a quality that in some cases offers superiority over high forms of art that cannot be readily replicated, like painting or sculpture.
Mass art is considered low art, which can be reproduced and widely distributed. Intentionally, the artwork intends to gravitate in its conceptual choices (for example, its descriptive structures, imagery, desired impact, and even its subject matter) towards certain choices which offer access with minimal effort, virtually on first touch, for the highest number of untutored (or relatively untutored) audiences.
Massification identifies the feature of low art of being developed in mass and designed for mass consumption.
The idea that low art is readily reproducible shows its impersonal and alienating essence in contrast to the close representation of the imagination of a single artist through high art. The explanation low art is so neutral and undistinctive is because it is impurely driven by the desire to make huge money on it that can only be achieved if the art becomes too homogeneous to be enjoyed by the biggest and most varied amount of people available. Access to art in the discourse of education and disproportionate access to educational opportunities is a critical political issue. Most communities are constantly trying to make their high art culture as open like low art as ever.

Cassandra Mcgee

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