The phrase "art as an object" is correct and usable in written English.
It can be used when discussing the physicality or materiality of art, distinguishing it from conceptual or experiential aspects.
Example: "In contemporary discussions, we often explore the idea of art as an object, emphasizing its tangible qualities and the role of the artist's choice of materials."
Alternatives: "art as a physical entity" or "art as a tangible item".
Imagine the face of Preston Sturges, say, if you had told him that, one day, Americans would approach that art as an object of scholarly study.
Art is a sharpening stone for our own vitality, I have no interest in art as an object of exchange – I am interested in art as a transformative catalyst for life".
When I catch up with Goldsworthy after our trip, he explains: 'What has evolved is a project that goes beyond art as an object to be looked at, to something that is part of a landscape to be lived in.' The land he is working on is largely abandoned: a region emptied by economic desperation.
A willingness to experiment with placement is what distinguishes this show from other, run-of-the-mill glass exhibitions, which tend to treat the art as a precious object.
By having the ART system as an object-to-thing-with, we argue that communication with interactive computational tools had better been regarded as interaction with representations.
How to look at it in that way — winkling out "gender issues" with a rooting interest in their resolution — and simultaneously as art, an object of experience in and of itself, is not addressed.
To avoid the paradoxical consequence that some artworks lack authors, the concepts of authorship and artifactuality must be interpreted in this context in such a way that the choice of an object for "presentation to the artworld public" is sufficient to make the presenter the author of the object qua work of art, that is, as an object of aesthetic appreciation.
"I think it is very important to understand that when we create furniture it is first of all made as a piece of art and not as an object," HAROW (also known as Harold Sangouard) tells The Creators Project.
"The art became completely devalued as an object of the real estate," he said.
Burne-Jones's paintings were one strand in the evolving tapestry of Aestheticism from the 1860s through the 1880s, which considered that art should be valued as an object of beauty engendering a sensual response, rather than for the story or moral implicit in the subject matter.
Should Banksy's artworks remain in their natural habitat or is street art, like fine art, destined to be viewed as an object of monetary value too?
