Ueli Grashin

One thing about vacation planning often goes overlooked: hassle-free transportation. Nobody wants to be bothered with expensive rental cars and finding the right parking spaces. The LBI Shuttle is one of Long Beach Island’s best-kept secrets. It’s convenient, it’s reliable, and it’s free!

Riding on the LBI shuttle is a safe, comfortable and eco-friendly way to cover the 18-mile island. However, the very best part about the LBI shuttle is that it’s absolutely free for the locals and the tourists. With quite a few easy to locate designated stop areas, all you need to do is signal a trolley and you will traveling effortlessly to your next destination. Catering to the young, the not so young, and the disabled, all LBI Shuttles are strollers and wheel chair accessible. There’s no better way to explore the many beach towns on Long Beach Island.

The online Shuttle Schedule provides information on the availability of the shuttle during peak season. Shuttle operations begin around Memorial Day weekend and continue through early October. The LBI Shuttle starts out the year with weekends-only service but it goes full swing for peak season, from June 27th to September 5th.

Are you looking for hassle-free transportation that will serve you during the off-season? You can still rent a shuttle that holds fourteen people for the cost of $300, year round.

Memorial Day Weekend

June 3rd to June 26th

June 27th to September 5th

September 9th to October 3rd

Whether it’s just a weekend getaway or a full-blown summer vacation, you deserve to have a safe and carefree experience with your family. Here is how you can boost you LBI Shuttle experience and come into great deals while you ride around town.

You can download the LBI Shuttle App to your smartphone so it’s even easier to use the shuttle when you’re getting around on Long Beach Island. This app will show you a map of the shuttle stop locations, and give you an estimated time of arrival so that you know exactly where and when to catch the next shuttle. This significantly reduces the time you will have to wait around.

Looking for great deals and coupons to use while on the island? As if the free LBI Shuttle rides were not enough, passengers also will receive free coupons and special offers from local businesses.

If you prefer to use an alternative method of transportation besides the LBI Shuttle, there are some other options available to you. These options will not be as convenient and it’s going to cost you, but here are some other ways to get around Long Beach Island:

If your idea of fun involves riding around in the comfort of your own vehicle, you’re not alone. You can control the temperature and music and avoid having to share space with a stranger if you take your own car. Long Beach Island is a driver-friendly place with clearly marked streets and plenty of parking. If you’re staying at a conveniently located LBI hotel, your best option is to park your car in the hotel parking lot since the street parking fills up quickly in the summer. There are also parking lots scattered around the island but you should expect to spend between $10-20 each time you want to park your car in such a place.

If you want to take a car but you don’t want to deal with driving or parking, a taxicab might be the right choice. Besides the convenience of going directly to your destination without making stops along the way, a taxi is better than the LBI shuttle because you don’t need to think about operating hours. The LBI shuttle stops runs by 11pm most nights, so you’ll need a different ride home if you’re staying out very late. There are several taxi services that you could call if you don’t find an empty cab on the street as you’re out and about.

Bike riding is a fantastic experience on Long Beach Island. It is a safe and convenient way to get around, especially since there is a bike riders lane on the main streets. Rental bikes are easy to find in Beach Haven and Ship Bottom, and they’re very affordable. You can rent bikes for your whole family for less money than a taxi would cost in most cases. There’s a popular bike loop and pedal-friendly trails all over the island.

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The custom functions file is under the module folder, so while importing, we need first to mention the folder name followed by the scope resolution operator (::) and then the file name.

We are just importing the file, so we need to mention the file name followed by the scope resolution operator (::) then the function while calling the function.

Calling only one function:

Calling both the functions:

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1. Get plenty of rest Rest is vital for recovery from any surgery
2. Ask for help Newborns are demanding
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5. Manage pain
6. Watch for signs of infection
7. Fight constipation
8. Get support for breastfeeding

1. Enter your CA No and Meter No to the login page.
2. Click on "Submit" button.
3. Fill the fields mentioned in the registration form.
4. Click on "Submit" button.
5. You will receive a mail confirming your registration details.

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YG Entertainment formed a South Korean boy band called Big bang. Four people are in the group: G-Dragon, T.O.P, Taeyang, and Daesung. Originally a five-piece band, Seungri retired from the entertainment industry in March 2019. Dubbed the "Kings of K-pop", they helped spread the Korean Wave internationally and are considered one of the most influential acts in K-pop. They are known for their trendsetting musical experimentation, self-production, and stage presence.

Although their debut album, Bigbang Vol.1 (2006), was released to lukewarm reception, greater success followed with a string of hit singles: "Lies", which topped Korean music charts for a record-breaking six consecutive weeks and won Song of the Year at the 2007 Mnet Km Music Festival and the 2008 Seoul Music Awards; "Last Farewell", "Haru Haru", and "Sunset Glow".

After winning Artist of the Year at the 2008 Mnet Korean Music Festival and the 2008 Seoul Music Awards, the group released four Japanese studio albums—Big Bang (2009), Big Bang 2 (2011), Alive (2012), and Made Series ( 2016)—all of which were certified gold by the Recording Industry Association of Japan (RIAJ).

After a two-year hiatus in South Korea, the quintet returned with their fourth EP, Tonight, won them the inaugural Best Worldwide Act Award at the MTV Europe Music Awards. Their third studio album, Made, was preceded by several chart-topping singles and won the group Artist of the Year awards at the 2015 Mnet Asian Music Awards for the third time. The Made World Tour attracted 1.5 million people and set a new record for the most-attended concert tour in history.

Eleven of Big Bang's singles have reached number one on South Korea's Gaon Digital Chart and have collectively remained atop the Melon charts for a record 51 weeks. It has been reported that they have sold over 150 million digital and physical records globally, which would rank them among the best-selling boy bands in the world. Forbes Korea ranked them as one of the most powerful celebrities in South Korea from 2009 to 2016 (placed 2nd in 2009, 2012 and 2014); and they were the first Korean artists to be included in the Forbes Celebrity 100 (2016) and 30 Under 30 list of most influential musicians in the world (2017).

Some of the members were exposed to the entertainment industry before the group was formed. At the age of eleven, G-Dragon and Taeyang received training from YG Entertainment. After G-Dragon was approached by YG Entertainment for possible candidates to start a boy group, G-Dragon contacted T.O.P, his childhood friend of his, leading to the latter to audition. At the time, T.O.P was an underground rapper under the stage name "Tempo". One of his most popular tracks by him was "Buckwild" with NBK Gray. Seungri first appeared on the reality television series Let's Cokeplay: Mnet Battle Shinhwa, a show in which idol group Shinhwa search for members to make up the "second-generation Shinhwa". The original lineup consisted of six members: the aforementioned ones along with Daesung and Hyun-seung, who were both auditioned in. The Internet broadcast of the documentary exceeded one million views.

Big Bang held their official debut on August 19, 2006, at Olympic Gymnastics Arena in Seoul during the YG Family 10th Anniversary Concert, which was broadcast the following month. Their first single "Bigbang", released shortly thereafter, contained the songs "We Belong Together", featuring label mate Park Bom; "A Fool's Only Tears" and "This Love", an adaptation of the American rock band Maroon 5 song, rewritten and performed by G-Dragon. The single went on to sell nearly 40,000 copies. The second single, BigBang Is V.I.P, was released in September, eventually topping 32,000 copies sold. Their last single, Bigbang 03, followed, with final sales nearing 40,000 copies. The quintet received the award of New Artist of the Month for October at the 2006 Cyworld Digital Music Awards. In December, the group held their first concert, The Real, at Olympic Gymnastics Arena for 12,000 fans. The release of their debut album, BigBang Vol. Since 2007, it followed.

The album went on to sell over 100,000 copies after it was released.

On February 8, 2007, Big Bang released their live concert album, The First / Real Live Concert, which sold 30,000 copies by the end of the year. They also began the Want You Tour in support of Since 2007, visiting five cities: Incheon, Daegu, Changwon, Jeonju and Busan. Their first extended play, Always (2007), marked several changes for the group.

The group moved away from their hip-hop roots by taking more control over their music. The lead single "Lies" was composed and written by G-Dragon, as well as electronic music for Bigbang. Receptions were fairly positive, most notably in regards to "Lies", which critics described as "through the roof". Released as the lead single, it became their first number one hit and the album sold over 120,000 copies. Topping music charts for six weeks, "Lies" went to become the first song to win the Song of the Month award from the Cyworld Digital Music Awards for two consecutive months, as well as gathering the highest monthly sales in Cyworld's history, with over 200,000 copies sold in September.

Their second EP, Hot Issue, released in November of the same year, contained six tracks all written by G-Dragon, who was also the album's producer. Hot Issue followed its predecessor's success: the lead-single, "Last Farewell", topped various charts, including the Melon chart for eight consecutive weeks, becoming the longest-running number one hit by a boy group. It also garnered the Song of the Month (Digital Music) Award from Cyworld. "Fool" and "But I Love U", other tracks from the EP, also ranked within the top 10. The digital success lead Hot Issue's sales to be moved over 120,000 copies total in South Korea. They also staged their Big Bang is Great concert, with tickets selling out in 10 minutes.

Due to over-performing and exhaustion, several members were hospitalized, halting promotional activities. Despite this, their albums and singles were in high demand, causing the record company to reprint and repackage them for re-release. Riding on the success of their EPs, the group collected numerous awards, including Best Male Group and Song of The Year for "Lies" at the 2007 Mnet Asian Music Awards. They later received the Artist of the Year and Digital Record of Year awards from the 17th Seoul Music Awards. The group earned a total of ₩12 billion ($11.5 million) by year's end.

Big Bang went to Japan as the year ended. The group's first Japanese album, For the World, was 888-282-0465 888-282-0465 888-282-0465 888-282-0465 888-282-0465, and it was 888-282-0465 888-282-0465 888-282-0465. After their promotions in Japan ended, Big Bang returned to South Korea. Their third Korean EP, Stand Up, was released despite group activities being delayed. Featuring artists such as Daishi Dance and the Korean rock-band No Brain, Stand Up exceeded the 200,000 mark in sales. "Haru Haru", the lead single, topped several online charts and held the number one position for seven consecutive weeks. It also became one of the most successful singles of all-time in South Korea, selling over five million digital downloads in South Korea alone.

The top-five song was "Heaven", the top-ten was "Oh My Friend", and the top- twenty was "A Good Man".

The Japanese song, "Number 1," from their first Japanese studio album of the same name, peaked at number three on Japan's Oricon daily album chart, after being performed on Japanese radio programs and TV shows.

"Sunset Glow", a remake of the song of the same name by Lee Moon-se, was the number one single from their second Korean studio album, Remember. The album went on to sell over 200,000 copies. Big Bang received their second Artist of the Year Award from the 2008 Mnet Asian Music Awards. At the end of 2008, it was reported that Big Bang earned a total of ₩36 billion ($34.5 million).

The group was on a break in early 2009.

They collaborated with 2NE1, who had been dubbed as "The Female Big bang" for their song "Lollipop", which was used to promote a cell phone. A music video was also filmed for promotion. Big Bang also released their third endorsement digital single "So Fresh, So Cool" to promote the beer brand "Hite", although Seungri was not in the commercial due to the fact he was not of drinking age. Their second self-titled Japanese studio album was released under Universal Music in August 2009 and was promoted with two singles: "My Heaven" and "Gara Gara Go!! (ガラガラ Go!!)". "My Heaven", a Japanese re-recording of their Korean single "Heaven" from Stand Up, debuted at number three on the Oricon Music Chart. "Gara Gara Go!" charted at the fifth spot and the album itself peaked at number three.

Kicking off the new year with the 2010 Big Show concert at Olympics Gymnastics Arena, Big Bang flew to Japan to embark on their Electric Love Tour. Their third Japanese studio album, Big Bang 2 (2011) was preceded with three singles: '"Koe wo Kikasete" (声をきかせて, lit.

Let Me Hear Your Voice), "Tell Me Goodbye", and "Beautiful Hangover" . "Koe wo Kikasete" was used in the Japanese drama Ohitorisama (おひとりさま, One Person), and peaked at number four on the Oricon Chart. "Tell Me Goodbye" was included in the Japanese re-release of Korean drama Iris. The song proved to be popular and gained favorable reviews, winning Song of the Year at the 52nd Japan Record Awards. Two promotional singles were also released in their home country: the number one song "Lollipop Part 2" to once again promote LG Cyon's Lollipop phone, and "Shout of the Reds" featuring the Korean rock band Transfixion and figure skater Kim Yuna in support of the 2010 World Cup. For most of the year, members individually promoted their own work, including the introduction of the sub-unit GD & TOP with their collaboration album. Big Bang also won several notable awards, including the Best 5 New Artists award from the 24th Japan Gold Disc Awards as well as the Best New Artist award. Near the end of May, the group received the awards for Best Pop Video and Best New Artist from the MTV Video Music Awards Japan 2010.

After a nearly two-year hiatus as a full group, Big Bang returned to South Korea with their 2011 Big Show concert, showcasing songs from the upcoming EP Tonight. The album had a pre-sale order of 10,000 copies in Cyworld, beating the record set by TVXQ's 6,500 copies back in 2008, and moved 100,000 units in a week. Reception for the album was positive, with Choi Jun of Asiae complimenting the group's new direction in their music, acknowledging that during the two-year hiatus, the group's "style and musical sensibility deepened". Seven days after the album's release, it was reported that Big Bang had already earned ₩7 billion (US$6.6 million). Its lead-single of the same name became a chart-topper on the Gaon Digital Chart, while four other album tracks peaked within the top 10, including the number-two "Café" and the number four "What is Right?". After promotions for Tonight was finished, Big Bang released a special edition album with two new tracks: the chart-topper "Love Song" and the top 3 hit "Stupid Liar". Their third Japanese tour, Love and Hope, kicked off in May in support of the album. 100,000 fans attended the tour, and all performances were sold out.

The MTV Europe Music Awards (MTV EMAs) featured Big bang winning the Best Worldwide Act award and "Love Song" winning the Best Music Video award. The YG Family 15th Anniversary concert tour and the release of their third Greatest Hits album, The Best of Big Bang, were the highlights of the year. The album sold more than 14,000 copies in the first week after it was released, topping the Oricon Daily chart.

The report said that Big bang earned 78 billion in the year of 2011, even though they had just been promoted. The earnings included the revenue concert for the show, the Big Show Concert, and their Love and Hope Tour in Japan.

In January 2012 YG Entertainment began releasing previews for the fifth Korean album by Bigbang.

Preorders for Alive amounted to 260,000 copies in two weeks. Three singles were released to promote the album: "Blue", the lead single, was released a week prior to the album and reached the number one position on all major domestic charts; the second single "Bad Boy" peaked at number two and was the only K-Pop song to be included in Fuse's best songs of 2012 list; while the last, "Fantastic Baby", rounded at number three. The music video for the latter became the band's most popular, having received more than 310 million views on YouTube, the most watched video by a Korean group, until it was surpassed in 2018. Internationally, Big Bang obtained five spots out of the top-ten on Billboard K-pop's Hot 100 and charted at no. 150 on Billboard 200, making them the first Korean artist with a Korean album to do so. Their popularity also boosted them onto the Billboard Social 50, entering at number twenty-four. A photo of the group was featured on the Grammys website, as well as being recognized by notable sites.

The album release coincided with their annual concert, Big Show 2012, held at Seoul Olympic Park Stadium from March 2–4 to a sold-out crowd of 40,000 fans. This marked the official kick off of their first world tour, the Alive Galaxy Tour, in partnership with Live Nation. It was directed by renowned choreographer Laurieann Gibson, with Big Bang performing at 21 cities in over 13 countries, with a total attendance of 800,000 people. Concert footage from Big Show was broadcast in 160 countries through MTV World Stage, which pushed the promotion for their world tour. The Alive Galaxy Tour marked the group's first ever concerts in the United States, Hong Kong and Europe. Due to high demand, additional concerts were held in Los Angeles, New Jersey and London. The quintet also performed at three Japanese dome venues for the first time, becoming the first Korean artist to perform at all three of these venues during its tour. The group concluded the tour with concerts in Osaka in mid-January along with a three night stint at the Olympic Gymnastics Arena in Seoul later that month.

The Japanese version of Alive was released on March 28 and has two additional Japanese tracks.

Included with the physical copy of their album was a bonus Japanese version of their hit song "Haru Haru". It sold over 23,000 copies on its first day of release and peaked at number two on the Oricon charts, eventually selling over 200,000 copies total and certified gold by the RIAJ. Japanese promotions began with a performance at 2012's Springroove Festival alongside top American and Japanese hip hop artists. The first Korean act to be invited along with label-mates 2NE1 was Big Bang. There were four new tracks, two of which were Korean remakes of two other tracks in the Japanese version of Alive. The album sold over 100,000 copies in its first month of release.

The success of their special edition album further boosted the group's global recognition, peaking at no. 11 on the Billboard Social 50. On November 30, 2012, Big Bang received a total of three awards at the 14th Mnet Asian Music Awards, including Best Male Group and Artist of the Year.

The members pursued individual activities for the majority of the year.

The first foreign act to perform in six different dome arenas in Japan was Big bang, who performed in November of 2013). Gathering over 770,000 fans, the tour's total revenue, including tickets sold and merchandising sales, totaled $94 million. In October 2014, the group performed at the closing ceremony of the 2014 Asian Games held in Incheon, South Korea, wrapping up the Congratulatory Performance. A month later, the quintet embarked on their second Japanese dome tour, which was the first time that any overseas artist performed in five dome arenas of Japan for two consecutive years. By the end of 2014, Big Bang was the Korean artist that attracted the most concertgoers in Japan for the year and the second act overall.

Big Bang was on hiatus for two years while G-Dragon experienced a "career slump" and was unable to find inspiration to write new music for the band, explaining that "In the past, even after coming back from a long, tiring day, I would write at least two songs at the dorm before I slept as if it were my duty. , however, things just weren't working out for me so the album kept getting delayed." In 2015, Big Bang made their comeback by releasing special project singles for their album Made: M, A, D, and E. The first single, M, released in May, included the two songs "Loser" and "Bae Bae", which debuted at number one and number two, respectively, on Billboard's World Digital Songs, making the quintet the first K-pop boy band. to top the chart and the second Korean artist to occupy the top two slots simultaneously after labelmate Psy. "Loser" won Song of the Year at the 30th Golden Disk Awards, while "Bae Bae" won Song of the Year at the 13th Korean Music Awards. Both tracks were named by Billboard as one of the best K-pop songs of 2015, with "Loser" topping the list. The following month saw the release of A, which included "Bang Bang Bang" and "We Like 2 Party", that also went on to occupy the number one and two positions on Billboard's World Digital Chart. "Bang Bang Bang" won Song of the Year at the 17th Mnet Asian Music Awards, and was the best-performing single of 2015 in South Korea according to the Gaon Digital Chart. D was released in July and included "Sober" (Korean: 맨정신; Revised Romanization: Maenjeongsin) and "If You".

"If You" landed on Billboard's World Digital Chart at number two and topped the Gaon Digital Chart, while "Sober" charted at number two in their home country. The consecutive monthly releases concluded with E in August, with the songs "Zutter" featuring the sub-unit of GD & TOP, and "Let's Not Fall in Love" The latter peaked at number one on the Gaon Digital Chart and on Billboard's World Digital Songs chart.

The second world tour of Big bang was a success and received positive reviews. Kicking off with two shows in Seoul on April 25 and 26, the tour gathered 1.5 million fans around the world, making it the largest tour by any Korean act. By the end of the year, Big Bang had earned over ₩150 billion (US$120 million). Despite the commercial success of the singles, the release of the full album was postponed to add new songs to the album and for the group to rest after four months of promotions. Big Bang continued touring into 2016 for their Made V.I.P Tour, visiting China, Macau, Malaysia, Singapore, Taiwan and the United States. The group was the highest earning artist of 2016 in Mainland China based on concert revenue, by earning US$70.3 million, accounting for 70% of the entire total box office of South Korean artists in China for the year. In April and May, they toured Japan for their Fantastic Babys Tour, meeting 280,000 fans.

Several projects were launched to commemorate the group's 10th anniversary. The first was the documentary film Big Bang Made, which followed the group through their Made Tour in 2015, released on June 30, 2016. The band held a 10th anniversary concert tour, 0.TO.10, from July 2016 to January 2017, which included sold-out stadium shows at Yanmar Stadium Nagai in Osaka, Japan and at Seoul World Cup Stadium in Seoul, South Korea. The tour drew 781,500 attendees from 16 concerts in Japan, and made Big Bang the act with the biggest concert mobilization power for the year in Japan, the first time a foreign act has topped the list. Overall, they gathered a 1.1 million attendance for the tour. The band also held an art exhibition, titled A TO Z, to showcase the history of the group as well as to celebrate a decade with their fans. The exhibition traveled to Taiwan from June 24 to August 22 of last year.

After a year of delay, Made was released in December 2016. Two singles were announced for the release: "Fxxk It", and "Last Dance". The two songs, along with "Girlfriend", took the three top places on the Gaon Digital Chart, selling over one million digital copies combined in five days. The same songs peaked at number 2, 3 and 4 on the Billboard World Digital Songs chart, selling 13,000 copies combined. The digital version of Made sold over 1 million digital copies on QQ Music, Kugou, and Kuwo, China's three major music platforms in a day. The album debuted at No. 172 on the United States Billboard 200 with 6,000 equivalent album units, 4,000 of which were in traditional album sales, earning the band their second entry on the chart. They also debuted at no. 1 on the World Albums chart and the Heatseekers Albums chart. In their home country, South Korea, the physical version of the album topped the Gaon Albums chart. Two final concerts were held at Gocheok Sky Dome in January 2017 to wrap up their 10th anniversary tour and Made's promotional activities.

As per South Korea's mandatory military service requirement, T.O.P. enlisted for his two-year service on February 9, 2017, as a conscripted policeman. The remaining members continued promotions without him, holding their fifth annual Japanese dome tour, the Last Dance Tour, in November with 14 concerts in four cities with an attendance of 696,000 fans. The final two shows of the tour were also held at Gocheok Sky Dome in Seoul on December 30 and 31. In 2017, YG Entertainment released a reality show starring the group named Run, Big Bang Scout! through YouTube Red, which was the service's first original content to be produced in a country outside of the United States. The first episode of the program was free-released and has gathered over 12.7 million views on YouTube. The following year, the remaining members began their enlistment: G-Dragon on February 27, Taeyang on March 12, and Daesung on March 13, 2018. Seungri was initially announced to enlist on March 25, 2019. The single, "Flower Road", was released on March 13, 2018, as a goodbye to their fans. "Flower Road" set a record in China, reaching over a million sales in 3 days and 14 hours, the shortest amount of time for a Korean artist. The song also topped Billboard's World Digital Songs Chart, and the Gaon Digital Chart, where the song recorded the highest digital index of the year thus far.

On March 11, 2019, Seungri announced his retirement from the entertainment industry due to scandals surrounding the Burning Sun nightclub, resulting in his departure from Big Bang. On July 6, 2019, T.O.P was the first member to be discharged from the military. He was followed by G-Dragon on October 25, 2019. Taeyang and Daesung were discharged on November 10. On January 3, 2020, it was announced that Big Bang would be performing at the Coachella Valley Music and Arts Festival, which would have marked their first performance as a group in three years. In March, despite reports suggesting otherwise, all four members renewed their contracts with YG Entertainment and were preparing for a comeback that was eventually delayed due to the COVID-19 pandemic.

YG Entertainment announced on February 7, 2022, that Big bang will return with a digital single in spring.

They also announced that T.O.P has ended his exclusive contract with YG Entertainment, although he will still participate in group activities. The group released a new single titled "Still Life" on April 5, their comeback in four years and their first as a quartet. "Still Life" debuted at number one on the South Korea Gaon Digital Chart, making it Big Bang 11th number-one song, a record for any group in chart history. From only three and half days tracking, the single also reached top 10 on Billboard's Global 200 and Global Excluding US charts, becoming the third Korean act to do so. The single debuted at number one on the Hong Kong, Malaysia, Singapore, Vietnam Singles Charts, number three on Taiwan Singles Chart and Australia Hitseekers Singles becoming their first entry on the countries. As well debuting in top 100 in multiple countries including Indonesia, New Zealand, Netherlands, Hungary, Japan, UK and Canada.

Big Bang have been praised for their musical individuality and ability to fuse a pop sound with rap, R&B and dance elements. They are known for experimentalism and for a "dominating style of music that exceeds genre boundaries". During the early days of their career, Big Bang's music was predominantly hip hop and pop rap, although they incorporated R&B songs into their albums as well. A writer.

Japan once compared their early materials to that of American hip-hop artists such as The Black Eyed Peas, stating that their songs included "catchy vocals, rap and characters". The song "Ma Girl", Taeyang's first solo from the group's first album, was described as " mooth, sexy and bass-heavy" and reminiscent of Omarion. Similarly, Seungri's first solo from the same album, "Next Day", was stated to have an "intense '90s Usher vibes".

The group's first EP Always (2007) was a sonic departure from their previous efforts, experimenting for the first time with electronic dance music and setting it as the new musical trend in Korea. From their EP Hot Issue (2007), the "shibuya-kei-influenced" track "Fool" contained a "heavy dance beat paired with a smooth disco coating." "Haru Haru" from Stand Up (2008) was admired for "weaving in and out of tempos seamlessly and forcing a sense of anxiety on the listener through the beating undercurrent" and hailed as an "experiential masterpiece". They also collaborated with the Korean rock-band No Brain on the rock song "Oh My Friend". Alive (2012) showcased more of the group's raw voices over their usual autotune with "a mature kind of intensity"; its tracks further expanded the group's diverse genre experimentation portfolio. Lead single "Blue" was distinguished for its "more interesting electronic samples and production techniques", "Bad Boy" was described as a "nostalgic" and "perfect pop song" that "transcends language", and "Monster" was praised for its mournful vocals and orchestral sound.

On their "career-exemplifying" third album Made (2016), the group mixed a variety of electronic music with soft rock. "Loser" was cited for "introduc a more mature style" to Big Bang's discography "without losing the images they had enforced through previous releases", while "Bang Bang Bang" was noted for its modern EDM-inspired sound. The "boundary-pushing elements" of "Bae Bae" helped popularize the trap genre in K-pop. "Let's Not Fall in Love" focused on the group's less-seen "tender" side with a "lush" production that "evokes a range of emotions". "Girlfriend" was a "mellow hip-hop throwback to the group's early days".

Since members of the band have also experimented widely with other genres on solo projects, the group has been described as "rich in variety". Taeyang's EP Hot was mainly a collection of R&B songs, the singer naming the genre his "main focus" of hers. Daesung's first digital single, "Look at Me, GwiSoon" was a trot song, which drew criticism due to Big Bang's image as "hip-hop artists". On his debut album Heartbreaker, G-Dragon incorporated dance, hip-hop, and R&B. Justin McCurry from The Guardian stated, "Each of the five members has his own individual look, and their musical range is equally eclectic, covering R&B, hip-hop, house, electro and pop." Big Bang have been described as "artistic superheroes" for their "versatility and success in whatever they do". Their continued experimentation with a diverse range of musical styles and their distinct personalities have been highlighted as some of the main reasons for their popularity and longevity. The Chosun Ilbo explained that their "strong lead among idol groups" was a result of the quality of their music, noting that "whenever Big Bang promotes new songs, they want to introduce something new and tell us new stories." Internationally , however, Big Bang is often referred to as a "K-pop" group, a label they do not appreciate. G-Dragon commented, "We are Korean, so obviously they call our music K-pop.

We never thought of our music as K-pop. Our music is not different from ours. T.O.P disagreed with the "K-pop" label, saying that they don't divide pop music by who's doing it.

We don't say 'white pop' when white people make music.

Big Bang are known for maintaining tight control over their music, heavily involving themselves in songwriting and record production since their debut, unlike many Korean idol groups. As leader, G-Dragon has had a central role in producing almost their entire discography across a ten-year span and was credited as the main songwriter for the group's earliest hits such as "Lies", "Last Farewell", and "Haru Haru". ". The single "Last Dance" was written collaboratively by G-Dragon, T.O.P, and Taeyang and co-produced by G-Dragon.

Love and relationships are recurring concepts in the lyrics.

In "Bingle Bingle", the hero pleads with his lover to take the next step in their relationship. "Let's Not Fall in Love" shows hesitation toward opening up to someone, while "The Big Bang Theory" shows hesitation toward opening up to someone.

"Fantastic Baby" and "Bang Bang Bang" are often categorized as club music due to their lyrical content, the former described as having an "anarchistic" theme, and the latter being dubbed the "party anthem of 2015". The use of vulgarity in "Fxxk It" was seen as evidence of the members' growth, and the lyrics of "Bae Bae" were also noted for their sexual metaphors. On the other hand, their song "Loser" attempted to "humanize the group" by discussing their flaws, "Sober" talks about chasing one's dream, and "Last Dance" is an ode to the band's time together .

G-Dragon's contributions to the group's musical output were praised by The Korea Times, who described him as a "genius singer-songwriter". The rapper himself describes Big Bang as "an idol group not born of talent but through effort." A writer for Yahoo!

The group was praised by Japan for their involvement in their own work, as well as their personality, as they become in sync with one another.

Big bang has been praised for their live performances. The group used to rely on street dancing for their moves, but have since used other styles of choreographed moves. One of the moves from their debut single "La La La", involving the group lifting their shirts to expose their abdomens, quickly gained popularity online and became one of the top searches on the internet. The choreography for "Last Farewell", in which a particular move mimics "jump roping", also gained widespread domestic attention. The choreography for "Bang Bang Bang" by Parris Goebel was one of the most popular dances of 2015. The group's use of props during performances—including "an abundance of pyrotechnics, streamers confetti", LED lights, fog, as well as digitized "fire-breathing dragons and a rotor-spinning helicopter" —has been well received by critics.

Their unique stage fashion and hairstyle has been highlighted.

Their outfits are almost as entertaining as their performances. The release of Always in 2007 changed the group's image, with the group leaning towards a more preppy-punk style. Their skinny jeans and Converse shoes trended widely in South Korea, and Taeyang received attention trading his cornrows for a faux hawk. Big Bang also wore custom-printed hoodies for many of their performances and music videos and have been seen in brands such as Bape, 10 deep, Louis Vuitton, Jeremy Scott, and Phenomenon. The group was also credited for bringing back "old school" fashion into the mainstream, popularizing high-top sneakers from brands such as Nike and Reebok. Described as the "most fashionable" one in the group, G-Dragon famously wore triangular scarves that were later nicknamed "Big Bang scarves" during promotions for the single "Lies". T.O.P also became known for wearing sunglasses during performances.

In a review of their world tour, The Muse admired the group for playing every song like it was the last and for their precision delivery and individual strengths. At the peak of popularity of Psy's "Gangnam Style", The New York Times journalist Jon Caramanica noted how Big Bang's concert in New Jersey was the "true wild heart of K-pop" as opposed to Psy, highlighting their brightly colored costumes, choreography , and stage presence. In 2012, they ranked first in the Philippines's Top 3 Mall of Asia Arena concerts, and their concert in Lima was named the best in South America for the year. When compared to western artists such as Justin Bieber and One Direction, Big Bang's performances were noted for having their "edges crisper, the sound louder, the dancing sharper". Their Alive Tour show at the Prudential Center in Newark, New Jersey was ranked second on the New York Times' list of the best concerts in 2012. In March 2012, Krista Mahr from Time magazine praised the group's concert at the Olympic Gymnastics Arena in Seoul, describing them as "K-pop gods" for their stage presence. Big Bang's Made World Tour in 2015 was also a critical and commercial success, the Los Angeles Times calling their Anaheim show an "incredibly significant moment for K-Pop", praising the diversity of their songs and performances and noting how the concert "escalated the craft of live K-Pop — which sometimes doesn't live up to the overwhelming enthusiasm of its fans — into a sleeker and more adventurous kind of spectacular arena." Including the group in their list of best concerts of the year for the second time, The New York Times noted how the "electric, sleek and dizzyingly busy concert by one of South Korea's most vital K-pop acts made even its biggest American counterparts look like rank amateurs."

Big Bang is responsible for more than half of all albums sold by the label in Korea from 2014 to 2017, before their hiatus due to military enlistment. They were the first Korean mainstream hip hop idols, credited for helping popularize the genre throughout Asia as one of the driving forces behind the Hallyu Wave. The Korea Times called Big Bang "the icons of Korean pop " and stating that G-Dragon's rise to one of the most accomplished songwriters in K-pop "has inspired many young idol-wannabes to become singer-songwriters ." Yonhap News Agency noted that the group helped “spread K-pop as a cultural brand spanning the U.S., Europe, Latin America and the Middle East." In 2011, the BBC declared that "K-pop bands, including Big Bang, are making their mark around the world", specifically citing the group's contribution to YG Entertainment's economic growth. After the group won the 2011 MTV Europe Music Award for Best Worldwide Act, Google announced that its subsidiary YouTube would launch its own channel for K-pop music in recognition of its popularity and success. British newspaper The Guardian also discussed how the win had "shed light on the rise of Korean music across Europe". Jacques Peterson from The Sydney Morning Herald attributed Big Bang's success t or giving an "idiosyncratic twist" on genres that breaks the mold of the idol group formula. Suk Park, the president of DramaFever, hailed them as the vanguard of K-pop. The Michigan Daily have described Big Bang as a rare group that "both innovates and defines the direction a genre takes", affirming that the group and its members "have left a musical imprint that has affected the global music market." Seoul-based entertainment journalist Mark James Russell praised the group for defending categorization, stating how " f all the mainstream acts, they're doing the most to push boundaries of what is considered K-pop." Anna Fifield from The Washington Post claimed that they " have defined and redefined South Korean pop music.

They've defended the idea that so-called K-Pop is inevitably sugarcoated and factory-produced, and that boy bands are all about pretty faces and lip-synching." The Los Angeles Times praised Big Bang's constant sonic and image reinvention , calling the group as "one of the most inventive, aesthetically visionary acts in its genre." In an article commemorating Big Bang's tenth anniversary, Billboard stated that "no act has enthralled the Korean music world in the past decade quite like Big Bang" and later adding that they have "shaped the Korean music industry" and were enabled to "surpass international boundaries and shirk off the limitations of K-pop's youth-focused industry."

In recognition of their global popularity, Big Bang are a prominent face of South Korean tourism. Their Big Show concerts were promoted by the South Korean Ministry of Culture, Sports and Tourism's Visit Korea Committee from 2010 to 2012 due to the group's "big economic impact on the country." In 2014, Korea Post honored Big Bang by releasing official postage stamps containing images of the group. In 2016, they were chosen as ambassadors for the country's "Creative Korea" tourism campaign and ranked second on Time magazine's reader polls for Most Influential People in the World, behind only American politician Bernie Sanders. The same year, Forbes listed the group at number 54 on their annual list of Celebrity 100, having earned $44 million from June 2015 to June 2016 and becoming the first Korean act to appear on the list; the group had the third highest annual earnings ever for a boy band, behind only One Direction and Backstreet Boys. Big Bang was named one of the most influential artists of the Hallyu Wave by The Korea Herald and among the acts that best represent K-pop, as well as the "Top Male Idol Group in the Past 20 Years" in Dong- an Ilbo's survey of both the Korean public and music critics. Additionally, Big Bang were the highest ranking musicians in JoongAng Ilbo's "Most Powerful Figures In Korean Entertainment" list, placing fourth. In 2017, they became the first Korean artists to be included on Forbes 30 Under 30 list of musicians. Singles released by the group such as "Lies" and "Fantastic Baby" are often considered some of K-pop's biggest hits and most iconic songs. In their list of "The 21 Greatest K-Pop Songs of All Time", Spin magazine ranks "Bad Boy" at number thirteen and "High High" by the duo GD & TOP at number seven. "Fantastic Baby" ranked at number twenty-two on Rolling Stone's "50 Greatest Boy Band Songs of All Time" list. It placed second on Stereogum's list of "Best K-pop Videos", with "Love Song" at thirteenth. "Lies" was also chosen as the "Song of the Decade" by Mnet's M! Countdown in 2014 and voted the "Top Male Idol Song in the Past 20 Years" in a Dong-a Ilbo survey that also ranked "Bae Bae", "Fantastic Baby" and "Haru Haru" at fourth, fifth and sixth , respectively. "Fantastic Baby" was included in "The 100 Greatest Music Videos of the 2010s" by Billboard, which deemed the song one of K-pop's most impactful videos of all time. "Bad Boy", "Bae Bae" and "Fantastic Baby" were listed at eighth, 40th and 65th, respectively on Billboard's "The 100 Greatest K-Pop Songs of the 2010s".

Big Bang's music has influenced numerous artists, including BTS, Pixie Lott, A*M*E, Cho PD, Got7, Astro, Teen Top , Monsta X, Chang Kiha, SF9, Victon, Dynamic Duo, Zion T., Sonamoo, Topp Dogg, Nu'est, Mamamoo's Hwasa, Loona's Vivi, Secret Number's Jinny, Block B's U-Kwon, iKon, Blackpink, Sơn Tùng M-TP and Grimes. Chinese boy band OkBang was specifically fashioned after Big Bang and was described as having "many similarities to Big Bang in terms of musical style, wardrobe and hairstyles." Filipino singer-actress Glaiza de Castro also draws inspiration from Big Bang and their stage presence. Rapper BewhY, the winner of Show Me the Money 5, revealed that he started rapping after listening to Big Bang, while IU started gaining domestic popularity after covering songs by the group.

Big Bang's influence extends beyond the music industry, having shaped major fashion international trends. Dubbed "Big Bang fashion", their style has been followed extensively throughout Asia and made them into a cultural phenomenon in South Korea. The clothes that members wore on stage were often copied and sold at Dongdaemun Market. In 2011, Big Bang collaborated with Japanese clothing retailer Uniqlo to create a line of T-shirts that quickly sold out. The Chicago Sun-Times called the members "the most daring, dapper dressers in the world" and praised their style as "bold, innovative and trend-setting". Their impact on the Korean fashion industry was highlighted in Vogue Korea's exhibition in Seoul.

The group has released multiple hit songs, the Gaon Chart reporting that music consumers have learned to trust the group's quality and calling them a "phenomenon" because their material is "consumed evenly by a variety of age groups." Big Bang won several Song of the Year awards at numerous award shows, including at the 13th Korean Music Awards for "Bae Bae" and at the 30th Golden Disc Awards for "Loser". They were crowned Artist of the Year at the 17th Seoul Music Awards in 2008 and at the 7th Melon Music Awards in 2015 and became the first artist to win more than one Artist of the Year Award from the Mnet Asian Music Awards (2008, 2012, and 2015). The group also won multiple Best New Artist awards in the early days of their career in Japan. They became the first and only Korean act to win at the MTV Italian Music Awards, when they took home the Best Artist from the World award in 2016. The group has been honored as the Most Influential Group in Asia at the 5th Gaon Chart K-Pop Awards and with a Special Achievement award at the 58th Japan Record Awards.

The group's albums Hot Issue (2007), Stand Up (2008), Remember (2008), Tonight (2011) and Alive (2012) were also cited as some of the most successful digital albums in history. In 2014, the tenth anniversary of the digital music market release in South Korea, Big Bang was revealed to be the act with the second-most digital number one songs in history. With the Made singles in 2015, they became the first. Their breakthrough hit was 2007's "Lies", the first song to spend over 50 weeks on the Melon Chart, including 22 weeks in the Top 10; it remained in the top 100 for over 54 weeks. Their follow-up single "Last Farewell" tied the all-time record for the most weeks spent at number one on Melon, topping the chart for eight consecutive weeks. In 2011, Big Bang reached the top of Cyworld's Hall of Fame, making them the best selling artist of all time on the chart. Tonight became the first K-pop album to reach the Top 10 on the US iTunes chart. In 2015, they became the first act to have three songs in the top five of the Gaon Digital Year End Chart, as well as the first act to hold the first and second spots simultaneously in the same year. They also became the first act to top the Gaon Digital Chart for four consecutive months. Their third studio album Made (2016) was certified Diamond by the Chinese music service QQ Music and became one of the best-selling albums of all time in China. In 2016, "Lies" and "Haru Haru" were, respectively, the second and the fifth most downloaded songs in South Korea since 2006. They also became the first Korean act to have nine music videos exceed 100 million YouTube views, and the music video for "Fantastic Baby" became the first by a K-pop group to surpass 300 million views on YouTube.

Their first world tour set the record for highest ticket sales in Taiwan, while their London shows gathered the largest crowd for a K-pop concert held in the UK. Their Japan Dome Tour in 2013 was the highest-grossing tour by a foreign act in Japan. Additionally, their Made World Tour, the most attended tour headlined by a Korean act in history, broke several records at the time, including those the most viewed online K-pop concert in history, the first foreign act to hold a Japanese dome tour for three consecutive years, the only foreign act to hold three concerts in a row at the Shanghai Arena, the first Korean act to hold a two-day concert in Kuala Lumpur, the largest K-pop arena tour in United States history, the first foreign act to sell out three concerts in Hong Kong on two separate occasions, one of the most expensive concerts in Malaysian history, the largest tour in China by any Korean act, and the biggest K-pop concert staged in Canada. Behind-the-scenes footage from the tour was documented in their first film, Big Bang Made, which became the most viewed music documentary in Korea. Their tenth anniversary concert at the Seoul World Cup Stadium was attended by 65,000 people, the biggest audience ever for a single headlining act in the country. With their Last Dance Tour in 2017, Big Bang became the first foreign act to hold a Japanese dome tour for five consecutive years.

Kuns is die uiteenlopende terrein van menslike kreatiewe aktiwiteite en die gevolg of resultaat van daardie aktiwiteite.[1] Sedert die verligting in die 17de eeu word met kuns bedoel, die skone kunste, en word dit rofweg onderverdeel in:[2]

Tot met die 17de eeu is met kuns bedoel enige bedrewenheid of meesterskap, en daar is nie onderskeid getref tussen kunshandewerk of wetenskappe nie. In die moderne era word die skone kunste, waar estetiese oorwegings van groter belang is, onderskei van aangeleerde vaardighede in die algemeen, en die sierkuns of toegepaste kuns.

Kuns is al gekarakteriseer in terme van mimesis, uitdrukking, kommunikasie van emosie of ander waardes. Tydens die Romantiese era, is kuns gesien as 'n "spesiale fakulteit van die menslike verstand wat geklassifiseer kan word saam met godsdiens en wetenskap.[3] Ofskoon die definisie van wát kuns behels betwis word[4][5][6] en met verloop van tyd al verander het, vermeld algemene beskrywings die idee van menslike toedoen[7] en skepping deur verbeeldingskrag en tegniese vaardigheid.[8]

Die aard van kuns en verwante begrippe soos kreatiwiteit en vertolking word verken in 'n vertakking van filosofie genaamd estetika.[9]

Volgens 'n breë definisie van kuns,[8] bestaan artistieke werke al amper so lank soos die mensdom self: van vroeë prehistoriese kuns tot kontemporêre kuns; hoe dit ook al sy, beperk sommige teorieë die konsep tot moderne Westerse samelewings.[10] Die eerste en ruimer betekenis van die woord kuns is die een wat naaste gebly het aan die ouer Germaanse betekenis, en breedweg vertaal kan word as "vaardigheid","kennis","wysheid" of "handewerk." 'n Paar voorbeelde waar die betekenis in hierdie breër betekenis voorkom sluit in kunsmatig, kunsgreep, medisinale kuns, en krygskuns. Hoewel daar heelwat ander alledaagse gebruike vir die woord is, is alles op 'n manier verwant aan die woord se etimologie. Die woord "kunst" is afgelei van die Nederlandse werkwoord "kunnen" wat in Afrikaans "kan" geword het. Dit dra die betekenis van die vermoë en kennis om iets te doen.[11]

Volgens Middeleeuse filosofie, was John Chrysostom van mening dat "die woord kuns net toepaslik moet wees op dit wat na middele en steunpilare van die lewe toe bydra en lewer." Thomas Aquinas, betreffende die verfraaiing van vroue, lewer 'n etiese regverdiging oor hoekom: "In die geval van kuns wat gerig is op die maak van goedere wat mans nie sonder sonde kan gebruik nie, volg dit dat die vakmanne sondig in die skep van sulke dinge, aangesien hulle ander direk van die geleentheid voorsien om te sondig; byvoorbeeld as 'n man afgodsbeeldjies maak of enige iets wat betrekking het op afgodiese aanbidding. Maar, in die geval van kuns waarvan die produkte vir òf goed òf sleg aangewend kan word, soos swaarde, pyle ensovoorts, is die beoefening daarvan nie sonde nie. Slegs dit kan kuns genoem word."[12] Aquinas was van mening dat kuns niks anders is nie as "die regte rede rondom sekere werke wat gemaak moet word," en dit is aanbevelenswaardig, nie vir die wil waarmee die vakman 'n werk lewer nie, "maar vir die kwaliteit van die werk. Kuns, daarom eintlik gesê, is 'n werksgewoonte." Aristoteles en Aquinas onderskei dit van die verwante gewoonte van verstandigheid.[13]

Die tweede en mees onlangse begrip van die woord kuns is as 'n verkorting vir skeppende kuns of skone kunste en het in die vroeg 17de eeu ontstaan.[14] Skone kunste beteken dat 'n vaardigheid gebruik word om 'n kunstenaar se kreatiwiteit uit te druk, of tot 'n gehoor se estetiese ontvanklikheid te spreek, of om die gehoor se aandag te lei na die oorweging van die skoner dinge.

Die woord kuns kan na verskeie dinge verwys: 'n studie van skeppende vaardigheid, 'n proses in die gebruik van skeppende vaardigheid, 'n produk van skeppende vaardigheid, of die gehoor se ondervinding met die skeppende vaardigheid. Die skeppende kuns (kuns as dissipline) is 'n versameling van dissiplines wat kunswerke (kuns as objekte) lewer, genoodsaak deur 'n persoonlike dryfveer (kuns as aktiwiteit), 'n boodskap, stemming of simboliek oordra aan die besigtiger vir interpretasie (kuns as belewenis). Kuns is 'n verskynsel wat 'n indiwidu se gedagtes, emosies, oortuiginge of idees stimuleer deur die sintuie. Kunswerke kan uitsluitlik geskep word vir hierdie doel, of geïnterpreteer word op grond van beelde en voorwerpe. Hoewel die toepassing van wetenskaplike kennis, vaardigheid verg en uitvloei op die "skep" van iets nuuts, dit slegs wetenskap verteenwoordig en nie as kuns gekategoriseer word nie.

Dikwels, indien die bedrewenheid in 'n algemene of praktiese manier aangewend word, sal mense dit as handewerk beskou eerder as kuns. Net so, as die vaardigheid gebruik word in 'n kommersiële of industriële manier, kan dit as handelskuns in stede van skone kuns gesien word. Aan die ander kant, word bedrewenheid en ontwerp soms as toegepaste kuns beskou. Sommige volgelinge van kuns argumenteer dat die verskil tussen skone kunste en toegepaste kuns meer te doen het met die waardebeoordeling gemaak oor die kunswerk, as enige duidelike definisieverskil.[15] Nogtans het selfs skone kunste doelwitte buite suiwere kreatiwiteit en uitdrukking van innerlike gevoelens. Die doel van kunswerke kan wees om idees te kommunikeer, soos met polities-, spiritueel- of filosofiesgemotiveerde kuns; vir die skep van 'n besef van skoonheid (sien estetika); om die aard van persepsie te ondersoek; vir plesier; of om sterk emosies op te wek. Die doel hoef ook oënskynlik nie te bestaan nie.

Die wese van kuns is deur die filosoof Richard Wollheim beskryf as "een van die mees ontwykende van die tradisionele probleme van menslike kultuur".[16] Kuns is al beskryf as 'n medium vir die uitdruk of oordra van emosies en idees, 'n metode vir die verkenning en waardering van formele elemente vir hul eie onthalwe, en as mimesis of voorstellings. Kuns as mimesis het diep wortels in die filosofie van Aristoteles.[17] Goethe het kuns gedefinieer as 'n ander respektiewelik 'n tweede natuur, volgens sy ideaal van 'n styl gegrond op die basiese fondamente van insig en die diepste karakter van dinge.[18] Leo Tolstoi identifiseer kuns as die gebruik van indirekte middele om te kommunikeer van een persoon na 'n ander.[17] Benedetto Croce en R.G. Collingwood bevorder die idealistiese siening dat kuns emosies uitdruk, en dat die kunswerk daarom essensieel bestaan in die maker se gedagtes.[17][19] Die teorie van kuns as vorm, se wortels lê in die filosofie van Immanuel Kant, en is ontwikkel in die vroeg 20ste eeu deur Roger Fry en Clive Bell. Meer onlangs het denkers, beïnvloed deur Martin Heidegger, kuns geïnterpreteer as die middel waardeur 'n gemeenskap 'n medium ontwikkel vir selfuiting en interpretasie.[20][21][22] George Dickie het 'n institusionele teorie van kuns gebied wat 'n kunswerk omskryf as enige artefak waaraan "die status van kandidaat vir waardering" verleen word, deur 'n gekwalifiseerde persoon of persone wat optree namens die sosiale instelling wat algemeen na verwys word as "die kunswêreld".[9] Larry Shiner beskryf skone kunste as "nie 'n essensie of 'n bestemming nie, maar iets wat ons gemaak het. Kuns soos ons dit algemeen verstaan het, is 'n Europese uitvinding skaars tweehonderd jaar oud.” [23]

Beeldhouwerke, grotskilderye, rotstekeninge en petrogliewe uit die Laat-Paleolitiese-tyd ongeveer 40 000 jaar gelede is al gevind, maar die presiese betekenis van sulke kuns word gereeld betwis aangesien min kennis beskikbaar is oor die kulture wat daarvoor verantwoordelik was. Die oudste kunsobjek in die wêreld — 'n reeks klein deurboorde slakdoppe ongeveer 75 000 jaar oud — is gevind in 'n Suid-Afrikaanse grot.[24] Houers wat moontlik gebruik is om verf te stoor, dalk 100 000 jaar oud, is ook al gevind.[25]

Heelwat vername kunstradisies se wortels lê in een van die groot antieke beskawings: Antieke Egipte, Mesopotamië, Persië, Indië, China, Antieke Griekeland, Rome asook die Inka, Maja en Olmeke. Elk van hierdie vroeë beskawingsentra het 'n unieke en kenmerkende styl in sy kunste ontwikkel. As gevolg van die grootte en langdurigheid van die beskawings het meer van hul kunswerke behoue gebly, en is hul invloed oorgedra aan ander beskawings en latere eras. Sommige het ook die eerste aantekeninge verskaf van hoe kunstenaars te werk gegaan het. Die tydperk van Griekse kuns openbaar byvoorbeeld 'n verering van die mens se fisiese vorm en die ontwikkeling van verwante vaardighede om muskulatuur, houding, skoonheid en anatomies korrekte verhoudings akkuraat weer te gee.

In Bisantynse en Middeleeuse kuns van die Westerse Middeleeue is heelwat gefokus op die uitbeelding van Bybelse en godsdienstige waarhede, en is style gebruik wat die verhewe glorie van 'n hemelse wêreld vertoon, soos met die gebruik van goud op die agtergrond van skilderye, of glas in mosaïek of vensters, wat ook figure voorstel in idealistiese patroonvorms. Nieteenstaande het 'n klassieke realistiese tradisie bly voortbestaan in mindere Bisantynse werke en het realisme bestendig gegroei in Katoliek-Europese kuns.

Renaissance-kuns het oordrewe toegenome klem gelê op die realistiese uitbeelding van die materiële wêreld, en die mens se plek daarin, afgespieël in die lyflikheid van die menslike liggaam, en die ontwikkeling van 'n sistematiese metode van grafiese voorstelling om diepte uit te beeld in 'n drie-dimensionele afbeeldingruimte.

In die Ooste het Islamitiese kuns se verwerping van ikonografie gelei tot 'n klem op geometriese patrone, kalligrafie en argitektuur. Verder oos het godsdiens artistieke styl en vorm ook oorheers. Indië en Tibet lewer geverfde beeldhouwerk en danse op, terwyl godsdienstige skilderkuns heelwat konvensies leen van beeldhoukuns en neig tot helder kontrasterende kleure met fokus op buitelyne. Sjina beleef die opbloei van vele kunsvorme: jaspis-snywerk, bronswerk, pottebakkery (insluitende die ongelooflike terracotta-leër van Keiser Qin), poësie, kalligrafie, musiek, skilderkuns, drama, fiksie, ens. Sjinese style verskil heelwat van era tot era en elkeen is tradisioneel vernoem na die regerende dinastie. So byvoorbeeld is Tang-dinastie skilderye monochromaties en yl, en lig geïdealiseerde landskappe uit, terwyl Ming-dinastie skilderye besig en vol kleur is, en fokus op die oordra van stories via opstelling en samestelling. Japan vernoem ook sy style na keiserlike dinasties, en beleef ook heelwat tussenspel met kalligrafiese en skilderkunsstyle. Houtblok drukwerk word gewild in Japan na die 17de eeu.

Die Westerse Eeu van Rede in die 18de eeu lewer artistieke afbeeldings van fisiese en rasionele sekerhede van die uurwerkheelal op, asook polities rewolusionêre visioene van 'n post-monargistiese wêreld, soos William Blake se vertolking van Newton as goddelike meetkundige, of Jacques-Louis David se propagandistiese skilderye. Dit lei tot die Romantieke verwerping daarvan ten gunste van skilderye rakende die emosionele sy en indiwidualiteit van die mens, met voorbeelde verduidelik in die romans van Goethe. Die latere 19de eeu lewer ook 'n menigte van kunstebewegings op soos akademiese kuns, Simbolisme, Impressionisme en Fauvisme onder andere. Die geskiedenis van 20ste-eeuse kuns is 'n narratief van eindelose moontlikhede in die soeke na nuwe standaarde, elkeen verkrummel deur die daaropvolgende. Dus kon die parameters van Impressionisme, Ekspressionisme, Fauvisme, Kubisme, Dadaïsme, Surrealisme ens. nie veel langer na die tyd van hul uitvinding in stand gehou word nie. Groeiende globale wisselwerking gedurende die tyd lewer 'n ekwivalente invloed op vanaf ander kulture na Westerse kuns, soos Pablo Picasso wat beïnvloed is deur Afrika beeldhouwerk. Japannese houtblokafdrukke (wat in hulself beïnvloed is deur Westerse Renaissance tekenkuns) het 'n geweldige invloed gehad op Impressionisme en daaropvolgende ontwikkeling. Later is Afrika-skilderwerk deur Picasso opgeneem en selfs tot 'n sekere mate deur Matisse. Insgelyks het die Weste 'n massiewe impak gehad op Oosterse kuns in die 19de en 20ste eeu, met oorspronklike Westerse idees soos Kommunisme en Post-Modernisme wat 'n kragtige invloed was op artistieke style.

Modernisme, die idealistiese soeke na die waarheid, maak in die latere helfte van die 20ste eeu plek vir 'n besef van sy onbereikbaarheid. Theodor W. Adorno sê in 1970, "dit word nou as vanselfsprekend aanvaar dat niks betreffende kuns as vanselfsprekend aanvaar kan word nie: nie kuns self of kuns in verhouding tot die geheel nie, selfs nie eers kuns se bestaansreg nie." [27] Relativisme is aanvaar as 'n onvermydelike waarheid, wat die era van kontemporêre kuns en postmoderne kritiek inlei, waar die kulture van die wêreld en die geskiedenis beskou word as veranderde vorme, gewaardeer kan word, en van getap kan word slegs deur ironie. Verder word die skeiding tussen kulture toenemend vaag, en sommige argumenteer dat dit nou meer geskik is om te dink in terme van 'n globale kultuur, eerder as streekskulture.

Die skeppende kuns word geredelik onderverdeel in meer spesifieke kategorieë, elk verwant aan sy tegniek of medium, soos byvoorbeeld sierkuns, beeldhoukuns, uitvoerende kuns of letterkunde. Anders as wetenskaplike velde, is kuns een van min akademiese vakgebiede georganiseer volgens tegniek [1]. 'n Artistieke medium is die essensie of materiaal waaruit die kunstenaar se werk saamgestel is, en kan ook verwys na die tegniek wat gebruik is. Verf is byvoorbeeld 'n medium wat vir skilder gebruik word en papier vir sketse maak.

'n Kunsvorm is die besondere gedaante of kwaliteit wat 'n artistieke skepping aanneem. Die medium wat gebruik word beïnvloed dikwels die vorm. Byvoorbeeld moet die vorm van 'n beeldhouwerk in die drie dimensionele ruimte bestaan en op gravitasiekrag reageer. Die inperkings en limiete van 'n spesifieke medium word dus sy vormkenmerke genoem. Om nog 'n voorbeeld te gee, die vormkenmerke van skilderkuns is die skilderdoektekstuur, kleur en kwastekstuur. Die vormkenmerke van videospeletjies is nie-lineariteit, interaktiwiteit en virtuele teenwoordigheid.

Die vorm van 'n spesifieke kunswerk word bepaal deur vormkenmerke van die medium, en is geensins aan die kunstenaar se intensies of die oudiënsie se reaksie gekoppel nie, aangesien hierdie kenmerke verwant is aan inhoud en nie vorm nie.[28]

'n Genre is 'n stel konvensies en style binne 'n spesifieke medium. Welbekende film-genres is byvoorbeeld western, riller en romantiese komedie. Genres in musiek sluit death metal en trip hop in. Genres in skilderkuns sluit stillewe en landskapkuns in. 'n Besondere kunswerk kan genres buig of kombineer, maar elke genre het 'n uitkenbare groep konvensies, clichés en tropus. (Nota: die woord genre het 'n tweede ouer betekenis binne die skilderkuns; genre-skilderkuns is 'n frase gebruik in die 17de tot 19de eeu om in besonder te verwys na skilderye met tonele van die alledaagse en word nog steeds so aangewend.)

Die styl van 'n kunswerk, kunstenaar of beweging is die onderskeidende metode en vorm gevolg deur die betreklike kuns. Enige losse, ruie, gedrupte of uitgegote abstrakte skildery word ekspressionisties genoem. 'n Styl word dikwels gekoppel aan 'n besonderse historiese tydperk, stel van idees en spesifieke kunste bewegings. Daarom word Jackson Pollock 'n Abstrakte Ekspressionis genoem.

'n Besondere styl mag spesifieke kulturele bedoelings hê. Roy Lichtenstein — 'n skilder geassosieer met die Amerikaanse Pop-kuns beweging van die 1960's — was byvoorbeeld nie 'n pointillis nie, nieteenstaande sy gebruik van kolle. Lichtenstein gebruik eweredig gespasieerde Ben-Day-kolle (die tipe in gebruik vir die weergee van kleur in strokiesprente) as 'n styl om die "hoë" kuns van skilder teenoor die "lae" kuns van strokies te bevraagteken, dus om kritiek te lewer op die klasverskille in kultuur. Pointillisme, 'n tegniek van laat Impressionisme (1880's), spesifiek ontwikkel deur die kunstenaar Georges Seurat, maak gebruik van kolle om variasie te skep in kleur en diepte in 'n poging om nader te beweeg aan die manier wat mense kleur werklik sien. Beide kunstenaars gebruik kolle, maar die besondere styl en tegniek staan in verband met die artistieke beweging aangeneem deur elkeen van die twee kunstenaars.

Hierdie is alles verskillende tegnieke om mee af te skop met die definiëring van 'n kunswerk. "Verbeel jou jy is 'n kunskritikus wat ten doel het om die betekenisse te vergelyk wat jy kry uit 'n wye reeks indiwiduele kunswerke. Hoe sal jy hiermee te werk gaan? Een manier om mee te begin is om die materiale te ondersoek wat elke kunstenaar gekies het met die maak van die objek, videobeeld of gebeurtenis. Die besluit om 'n beeld byvoorbeeld in brons te giet, beïnvloed die betekenis onvermydelik; die werk word iets anders as wat dit sou wees indien dit gegiet is in goud, plasties of sjokolade, selfs al bly die res van die kunswerk dieselfde. Hierna kan jy vasstel hoe die materiale in elke kunswerk 'n rangskikking geword het van vorms, kleure, teksture en lyne. Agtereenvolgens is dit weer gegroepeer in verskeie patrone en komposisiestrukture. In jou vertolking sal jy dan kommentaar lewer oor hoe hoofvorme bydra tot die algehele betekenis van die afgehandelde kunswerk. [Maar aan die einde] word die betekenis van meeste kunswerke… nie uitgeput deur 'n bespreking van materiale, tegnieke en vorm nie. Meeste interpretasies sluit ook 'n gesprek in rondom die idees en gevoel wat die kunswerk voortbring."[30]

Kuns kan die sin van aangeleerde vaardigheid of meesterskap van medium insluit. Kuns kan ook doodeenvoudig verwys na die ontwikkelde en effektiewe gebruik van 'n taal om betekenis oor te dra met onmiddellikheid en of diepte. Kuns is 'n daad van gevoelsuitdrukking, gedagtes en waarnemings.[31]

Daar is 'n verstandhouding wat bereik word met die materiaal as 'n resultaat van die hantering daarvan, wat mens se gedagtegang ondersteun.

'n Algemene sienings is dat die epiteton (bynaam) "kuns", spesifiek in sy verhewe sin, 'n sekere vlak van skeppende vernuf van die kunstenaar vereis, of dit nou 'n demonstrasie van tegniese vaardigheid is, oorspronklikheid in stilistiese benadering of 'n kombinasie van die twee. Tradisionele bekwaamheid van uitvoering is gesien as 'n onlosmaaklike kenmerk van kuns en dus nodig vir sy sukses; vir Leonardo da Vinci was kuns, nie meer of minder as sy ander beyweringe nie, 'n openbaring van vernuf. Rembrandt se werk, nou geloof vir hul efemeriese deugde, is veral deur sy tydgenote bewonder vir hul meesterlikheid. Met die draai van die 20ste eeu is die behendige optredes van John Singer Sargent om die beurt bewonder en beskou met skeptisisme vir hul handvloeiendheid, tog in ongeveer dieselfde tyd was die kunstenaar wat die era se mees herkenbare en peripatetiese ikonoklas sou word, Pablo Picasso, besig om 'n tradisioneel-akademiese opleiding waarin hy uitgestyg het te voltooi.

'n Algemene kritiek gelewer op sekere hedendaagse moderne kuns, is die beswaar teen die skynbare tekort aan vaardigheid of vermoë wat nodig is vir die produseer van artistieke objekte. In konsepsuele kuns is Marcel Duchamp se "Fontein" onder die eerste voorbeelde van werke waarin die kunstenaar van gevonde voorwerpe ("klaargemaak") gebruik gemaak het, en geen tradisionele erkende stel vaardighede gebruik het nie. Tracey Emin se My bed, of Damien Hirst se The Physical Impossibility of Death in the Mind of Someone Living volg ook hierdie voorbeeld en manipuleer die massamedia. Emin het in haar bed geslaap (ondermeer) voordat sy die resultaat in 'n galery geplaas het as 'n kunswerk. Hirst het met die konsepsuele ontwerp van 'n kunswerk vorendag gekom maar het meeste van die aanvanklike skep van vele werke oorgelaat aan aangestelde kunstenaars. Hirst se beroemdheid lê in geheel in sy vermoë om met skokkende konsepte vorendag te kom. Die eintlike produksie van baie konsepsuele en eietydse kunswerke is 'n geval van die samestel van klaargemaakte voorwerpe. Daar is egter heelwat modernistiese en hedendaagse kunstenaars wat voortdurend uitstyg met hul vaardighede in skets en skilder en die skep van direk betrokke kunswerke.

Ietwat verwant aan die bogenoemde, word die woord kuns ook aangewend om waardebeoordelings te vel, soos byvoorbeeld in die uitdrukkings "daardie ete was 'n kunswerk" (die sjef is 'n kunstenaar), of "die kuns van misleiding", (die uitsonderlike vernuf van die bedrieër word geprys). Dit is hierdie gebruik van die woord as 'n maatstaf van hoë kwaliteit en uitsonderlike waarde wat die reuk van subjektiwiteit aan hom verleen.

Die maak van uitsprake van waarde benodig 'n basis vir kritiek. Op die eenvoudigste vlak, is 'n metode om te bepaal of die impak wat 'n voorwerp op die sintuie het (voldoen dit aan die vereiste om as kuns te kwalifiseer), of dit as aantreklik of afstootlik gesien word. Hoewel persepsie altyd deur ondervinding beïnvloed word, en noodwendig subjektief is, word daar algemeen aanvaar dat wat nie op een of ander manier esteties bevredigend is nie, nie kuns kan wees nie. Hoe "goed" ook al, kuns is nie altyd nie, of selfs nie eers gereeld esteties aantreklik vir die meerderheid van besigtigers nie. Met ander woorde, 'n kunstenaar se primêre dryfveer hoef nie die najaag van die estetika te wees nie. Ook beeld kuns gereeld skrikbarende beelde uit, geskep vir sosiale, morele of diepsinnige redes. Byvoorbeeld, Francisco Goya se skildery wat die Spaanse skietvoorval van 3 Mei 1808 uitbeeld, is 'n grafiese voorstelling van 'n vuurpeloton wat verskeie pleitende burgers teregstel. Maar terselfdertyd, demonstreer die gruwelike uitbeelding Goya se vlymende artistieke vermoë met komposisie en uitvoering, en lewer passende sosiale en politieke kritiek. Dus sleep die debat voort oor watter vorm van estetiese genoegdoening, indien enige, benodig word om 'kuns' te omskryf.

Die aanneem van nuwe waardes, of die opstand teen aanvaarde norme van wat esteties verhewe is, hoef nie plaas te vind tesame met die algehele verwerping van die strewe na wat esteties aantreklik is nie. Inderdaad is die omgekeerde dikwels waar, dat die hersien van wat populêr ontvang word as esteties aanneemlikheid, toelaat vir 'n herbesieling van estetiese ontvanklikheid, en 'n vars waardering vir die standaarde van kuns self. Tallose skole het al hulle unieke manier om kwaliteit te omskryf voorgestel, maar tog wil dit voorkom of hulle almal saam stem oor ten minste een punt: sodra hulle estetiese keuses aanvaar word, word die kunswerk se waarde bepaal deur sy vermoë om die beperkings van die gekose medium te oortref, om 'n universele snaar te roer deur die seldsaamheid van die kunstenaar se vaardigheid of in die akkurate weergawe van wat bekend staan as die zeitgeist (tydsgees).

Kuns se bedoeling is geredelik om te spreek en in te skakel tot die menslike emosie. Dit kan estetiese of morele gevoelens opwek, en kan verstaan word as 'n metode om die gevoelens oor te dra. Kunstenaars stel iets voor sodat hulle gehoor tot 'n sekere mate aangespoor word, maar dit hoef nie bewustelik te geskied nie. Kuns kan gesien word as 'n verkenning van die menslike toestand; dit wat dit is om mens te wees.[32]

Kuns het verskeie rolle beklee deur die loop van die geskiedenis, wat daarom sy doel moeilik maak om te peil of kwantifiseer tot 'n enkele begrip of konsep. Dit beteken egter nie dat die doel van kuns "vaag" is nie, maar dat dit verskeie unieke, verskillende redes het vir die beywering daarvan. Van die funksies van kuns word in die volgende skets weergegee. Die verskillende oogmerke van kuns kan gegroepeer word onder die wat nie-gemotiveerd is, en die wat gemotiveerd is (Levi-Strauss).

Die nie-gemotiveerde oorwegings van kuns is dit wat integraal is tot menswees, meer is as die indiwidu of nie 'n spesifieke eksterne rol vervul nie. Deur hierdie terme is kuns, as kreatiwiteit, iets wat mens van nature moet doen (geen ander spesie beoefen kuns nie), en is daarvolgens meer as net van praktiese nut.

Gemotiveerde oorwegings van kuns verwys na opsetlike, bewustelike dade aan die kant van die kunstenaar of skepper. Die rede kan wees om politieke verandering te bewerkstellig, om kommentaar te lewer oor 'n aspek van die samelewing, om 'n spesifieke emosie of stemming oor te dra, om persoonlike psigologie aan te spreek, om 'n ander dissipline te illustreer, om (met kommersiële kuns) 'n produk te verkoop of bloot as 'n vorm van kommunikasie.

Graffiti-kuns en ander tipes straatkuns is grafika en afbeeldings wat met sproeiverf of sjablone op publieke sigbare mure, geboue, busse, treine en brûe aangebring word, gewoonlik sonder toestemming. Sekere kunsvorme, soos graffiti, kan ook onwettig wees (in die geval vandalisme).

Die funksies van kuns soos hierbo uiteengesit is nie onverenigbaar nie, aangesien baie daarvan kan oorvleuel. Kuns met die doel om te vermaak kan byvoorbeeld ook poog om 'n produk te verkoop, soos 'n rolprent of videospeletjie.

Sedert antieke tye was meeste van die vernaamste kuns 'n opsetlike vertoning van rykdom of mag, dikwels bewerkstellig deur gebruik te maak van 'n massiewe skaal en duur materiaal. Meeste kuns was in opdrag van heersers of godsdienstige instellings, met meer beskeie weergawes net toeganklik vir die mees vermoënde in die samelewing. Nieteenstaande was daar heelwat tye waar kuns van baie goeie kwaliteit beskikbaar was, in terme van eienaarskap, vir groot dele van die samelewing, bowenal in goedkoop media soos erdewerk en verganklike materiale soos tekstiel en hout. Onder verskillende kulture word die keramiekwerk van inheemse volke van die Amerikas in so 'n wye reeks van grafte gevind dat dit duidelik nie net beperk was tot 'n sosiale elite nie, hoewel sommige ander kunsvorme beperk kon wees. Reproduksiemetodes soos gietvorms het massaproduksie vergemaklik, en is gebruik om hoë-kwaliteit Antiek-Romeinse erdewerk en Griekse Tanagra-beeldjies aan 'n baie breë mark te lewer. Rolseëls was beide kunstig en prakties en wyd gebruik deur wat losweg die middelklas genoem kan word in die Antieke Nabye Ooste. Namate muntstukke oral in gebruik geneem is, het dit ook 'n kunsvorm geword wat meeste in die samelewing bereik het. Nog 'n nuwigheid het in die 15de eeu na Europa gekom met die druktegniek van klein houtsneë, meestal godsdienstig, wat dikwels baie klein en handgekleur was, en bekostigbaar was vir selfs landarbeiders wat dit teen hulle huismure geplak het. Gedrukte boeke was aanvanklik baie duur, maar het geleidelik meer bekostigbaar geword totdat teen die 19de eeu selfs die armstes sommige boeke met gedrukte illustrasies kon bekostig. Gewilde drukwerk van verskeie soorte versier huise en ander plekke al vir eeue.

Openbare geboue en monumente in hul aard, sekulêr en godsdienstig, spreek gewoonlik tot die hele samelewing, en ook tot besoekers as toeskouers. Hul vertoon aan die algemene publiek is al vir lank 'n belangrike faktor in hulle ontwerp. Egiptiese tempels is tipies omdat die grootste en mees rojale dekorasies geplaas is in plekke waar dit deur die algemene publiek besigtig kon word, eerder as die gedeeltes wat slegs deur die priesters gesien word. Heelwat areas van koninklike paleise, kastele en huise van die sosiale elite was dikwels algemeen toeganklik. Groot gedeeltes van die kunsversamelings van sulke persone kon daar gesien word deur almal, of deur die wat kon bekostig om 'n klein bedraggie te betaal, of die met die korrekte kleredrag, ongeag van wie hulle was, soos by die Paleis van Versailles, waar die geskikte ekstra benodigdhede (silwer skoengespes en 'n swaard) van winkels aan die buitekant gehuur kon word.

Spesiale reëlings is getref om die publiek toe te laat om etlike koninklike en private versamelings, in galerye geplaas, te besigtig, soos met die Orleans versameling wat grootliks gehuisves was in 'n vleuel van die Palais Royal in Parys. Dit kon deur die grootste deel van die 18de eeu besoek word. In Italië het kuns-toerisme rondom die Grand Tour 'n vername industrie geword sedert die Renaissance, en regerings en stede het moeite gedoen om sleutelwerke toeganklik te maak. Die Britse Koninklike Versameling word apart gehou, maar groot skenkings soos die Old Royal Library is al gemaak aan die British Museum, gestig in 1753. Die Uffizi in Florence is in sy geheel as galery geopen in 1765, hoewel die funksie al vir 'n geruime tyd geleidelik die gebou oorgeneem het oor die oorspronklike staatsdienskantore. Die gebou wat nou gebruik word deur Prado in Madrid is voor die Franse Rewolusie gebou vir die publieke uitstalling van gedeeltes van die koninklike kunsteversameling. Gelykstaande koninklike galerye, toeganklik vir die publiek, het bestaan in Wene, München en ander hoofstede. Die opening van die Musée du Louvre tydens die Franse Rewolusie (in 1793), as 'n openbare museum vir meeste van die gewese Franse koninklike versameling, het definitief 'n belangrike fase ingelei in die ontwikkeling van openbare toegang tot die kunste, met die oordrag van eienaarsskap na 'n republikeinse staat, maar was 'n voortsetting van tendense reeds goed gevestig.

Meeste moderne openbare museums en kunsopvoedingsprogramme vir kinders in skole kan terug geneem word na hierdie impuls om kuns aan almal beskikbaar te stel. Museums in die Verenigde State is geneig om geskenke van die mees welvarendes aan die massas te wees (Die Metropolitan Museum of Art in New York, is byvoorbeeld op die been gebring deur John Taylor Johnston, 'n uitvoerende spoorwegbeampte wie se persoonlike versameling die museum laat ontkiem het.) Maar, ten spyte van dit alles bly een van die belangrike funksies van kuns in die 21ste eeu die van 'n stempel van rykdom en sosiale status.

Daar was al pogings deur kunstenaars om kuns te skep wat nie deur die rykes as statussimbool gekoop kan word nie. Een van die primêre oorspronklike motiveerders van meeste kuns van die laat 1960's en 1970's was om kuns te lewer wat nie gekoop of verkoop kon word nie. Dit is "noodsaaklik om iets meer as net voorwerpe te lewer"[54] het die vernaamste na-oorlogse Duitse kunstenaar, Joseph Beuys gesê. Die periode in tyd het die opgang van dinge soos vertoonkuns, videokuns en konsepsuele kuns gelewer. Die idee was dat as die kunswerk 'n vertoning was wat niks sou agterlaat nie, of net 'n idee, kon dit nie gekoop of verkoop word nie. "Demokratiese voorskrifte wat wentel rondom die idee dat 'n kunswerk 'n kommoditeit is, het die estetiese innovasie aangedryf wat ontkiem het in die mid-1960's en die vrugte van gepluk is deur die 1970's. Kunstenaars algemeen geïdentifiseer onder die opskrif van Konsepsuele kuns... wat optrede vervang en aktiwiteite publiseer vir die verbintenis met beide die materiële en materialistiese belange van die geskilderde of beeldende vorm... [het] gepoog om die kunsvoorwerp as voorwerp te ondermyn."[55]

In die daaropvolgende dekades het hierdie idees ietwat verlore gegaan namate die kunsmarkte geleer het om beperkte uitgawe DVD’s van videowerke te verkoop,[56] uitnodigings vir eksklusiewe uitvoerende kunsoptredes te verkoop en selfs die voorwerpe wat na 'n konsepsuele optrede oorbly te verkoop. Verskeie van die optredes skep werke wat net deur die elite geïnterpreteer kan word, wat opgevoed is in hoekom 'n idee of video of skynbare gemors as kuns oorweeg kan word. Die stempel van status word insig in die werk eerder as die eienaarskap daarvan, en die kunswerk bly 'n hoër-klas aktiwiteit. "Met die wye gebruik van DVD-opname tegnologie in die vroeë 2000's, het kunstenaars, en die galerye-stelsel wat hulle winste ontleen aan die verkope van kunswerke, belangrike middele bekom met die beheer van video en rekenaarkunswerke in beperkte uitgawes aan versamelaars."[30]

Kuns is lankal al kontroversieel, dit wil sê dit word afgekeur deur sommige toeskouers, om verskeie redes, hoewel meeste pre-moderne polemieke maar yl opgeteken is, of heeltemal verlore is vir 'n moderne oorsig. Ikonoklasme is die vernietiging van kuns wat weens verskeie redes afgekeer is, insluitend godsdienstige redes. Anikonisme is 'n algemene afkering in, of alle figuurlike beelde, of net religieuse figuurlike beelde en is 'n gevaar vir meeste van die vername godsdienste. Dit is 'n kritieke faktor in die geskiedenis van Islamitiese kuns, waar afbeeldings van Mohammed nog steeds besonder kontroversieel is. Heelwat kunswerke is al 'n afsku in gekry suiwer oor dit ongewilde leiers, partye of ander groepe uitbeeld of voorstel. Artistieke konvensies is geredelik konserwatief en word baie ernstig opgeneem deur kunskritikusse, en tot 'n mindere mate deur die groter publiek. Die ikonografiese inhoud van kuns kan polemiek veroorsaak, soos die geval met laat-Middeleeuse voorstellings van die nuwe motief van Die floute van Maria in tonele van Die kruisiging van Jesus. Die Laaste oordeel van Michelangelo was kontroversieel vir 'n paar redes, insluitend die oorskryding van welvoeglikheid as gevolg van nudisme en die Apollo-agtige houding van Christus.

Die inhoud van meeste formele kunswerke deur die geskiedenis is deur die donateur of saakgelastigde gedikteer eerder as net die kunstenaar. Met die opkoms van die Romantiek, en ekonomiese veranderinge rondom die produksie van kuns, het kunstenaars se visie die gebruiklike bepalende faktor geword vir die inhoud van hul kuns, wat die gevalle van kontroversie ook laat vermeerder het, hoewel die gewigtigheid daarvan dikwels verminder het. Groot aansporing vir waarneembare oorspronklikheid en publisiteit het kunstenaars ook aangespoor tot kontroversie. Théodore Géricault se Vlot van die Medusa (c. 1820), was deels politieke kommentaar op 'n pas gelede gebeurtenis. Édouard Manet se Le Déjeuner sur l'Herbe (1863), is as skandalig beskou, nie oor die naakte vrou nie, maar omdat sy langs mans sit wat ten volle geklee is in die drag van daardie tyd eerder as gewade van die antieke wêreld. John Singer Sargent se Madame Pierre Gautreau (Madame X) (1884), het polemiek veroorsaak as gevolg van die rooierige pink gebruik om die vrou se oorlob kleur te gee. Dit is beskou as verreweg te suggestief en sou glo die model uit hoë sosiale kringe se reputasie skaad.

Die geleidelike prysgawe van naturalisme en die weergee van realistiese voorstellinge van die visuele voorkoms in die 19de en 20ste eeu, lei tot 'n rollende dispuut wat langer as 'n eeu duur. In die 20ste eeu word in Pablo Picasso se Guernica (1937) gebruik gemaak van boeiende kubistiese tegnieke en strakte monochromatiese olies, om die hartverskeurende gevolge uit te beeld van die bombardering van 'n klein antieke Baskiese dorpie. Leon Golub se Ondervraging III (1981) beeld 'n naakte vroulike aangehoudene met 'n hoofdeksel uit, aan 'n stoel vasgemaak met haar bene oop om haar geslagsdele te ontbloot en omring deur twee folteraars in alledaagse klere. Andres Serrano se Piss Christ (1989) is 'n foto van 'n kruis, heilig vir die Christelike geloof en verteenwoordigend van Christus se offer en finale lyding, gedompel in 'n glas vol van die kunstenaar se eie urine. Die voortspruitende herrie daarop lei tot kommentaar in die Amerikaanse senaat oor die finansiering van die kunste.

In die negentiende eeu was kunstenaars vernaamlik gemoeid met idees van waarheid en skoonheid. Die estetiese teoretikus John Ruskin, wat 'n voorstander was van dit wat hy gesien het as die naturalisme van J.M.W. Turner, het die rol van kuns voorgestel as kommunikasie deur 'n kunsgreep van 'n essensiële waarheid wat slegs in die natuur gevind kan word.[57]

Die definisie en evaluasie van kuns het veral problematies begin raak sedert die 20ste eeu. Richard Wollheim onderskei drie benaderings vir die bepaling van die estetiese waarde van kuns: die Realis, waarvolgens estetiese kwaliteit 'n absolute waarde het, onafhanklik van enige menslike siening; die Objektivis, waarvolgens dit ook 'n absolute waarde besit, maar dit afhanklik is van algemene menslike belewenis; en die Relativistiese posisie, waarvolgens dit nie 'n absolute waarde het nie, maar afhang van, en varieer saam met die menslike belewenis van verskillende mense.[58]

Die koms van Modernisme in die laaste deel van die negentiende eeu, lei tot 'n radikale breek in die voorstelling van die funksie van kuns,[59] en ook weer aan die einde van die twintigste eeu met die opkoms van postmodernisme. Clement Greenberg se artikel "Modernist Painting" (1960) definieer moderne kuns as "die gebruik van karakteristieke metodes van 'n dissipline om die dissipline self te kritiseer".[60] Greenberg pas die idee oorspronklik toe op die Abstrakte Ekspressionistiese beweging en gebruik dit as 'n metode om plat (nie-illusionistiese) abstrakte skilderkuns te verstaan en regverdig:

Na Greenberg het verskeie belangrike kunsteoretici na vore getree, soos onder meer Michael Fried, T.J. Clark, Rosalind Krauss, Linda Nochlin en Griselda Pollock. Hoewel dit oorspronklik bedoel was as 'n metode om 'n spesifieke groepering van kunstenaars te verstaan, is Greenberg se definisie van moderne kuns belangrik vir talle van die idees van kuns binne die verskeie kunstebewegings van die 20ste en vroeg 21ste eeu.

Pop-kunstenaars soos Andy Warhol het vernaam en invloedryk geword deur werke wat populêre kultuur asook die kunswêreld insluit, en heel waarskynlik beoordeel. Kunstenaars van die 1980's, 1990's, en 2000's brei die tegniek van self-kritiek verder uit verby hoër kuns na alle kulturele beeldskepping, insluitende mode-afbeeldings, strokiesboeke, plakkaatborde en pornografie.

Duchamp het op 'n slag voorgestel dat kuns enige aktiwiteit van enige aard is- alles. Die manier egter wat slegs sekere aktiwiteite deesdae as kuns klassifiseer, is 'n sosiale konstruksie.[61] Daar is bewyse dat daar 'n greintjie waarheid hieragter steek. 'The Invention of Art: A Cultural History' is 'n kunsgeskiedenisboek wat die samestelling van die moderne sisteme van kuns ondersoek bv. Skone kunste. Shiner vind bewyse dat die ouer sisteme van die kunste, voor ons moderne sisteem (skone kuns), beskou enige bedrewe menslike aktiwiteit as kuns. Die Antieke Griekse samelewing het byvoorbeeld nie die term kuns geken nie maar wel techne. 'Techne' kan verstaan word as nog kuns, nog ambag, aangesien die onderskeiding tussen kuns en ambag historiese produkte is wat eers later in die mensegeskiedenis na vore gekom het. 'Techne' het skilderkuns, beeldhouwerk en musiek ingesluit maar ook; kookkuns, geneeskunde, ruiterkuns, meetkunde, houtwerk, waarsegging, landbou ens.

Geskille oor of iets as kuns geklassifiseer moet word, word na verwys as klassifikatoriese geskille oor kuns. Klassifikatoriese geskille in die 20ste eeu het al kubistiese en impressionistiese skilderye ingesluit, Duchamp se Fontein, die rolprentwese, superlatiewe namaaksels van banknote, konsepsuele kuns en videospeletjies.[62]

Die filosoof David Novitz voer aan dat meningsverskille oor die definisie van kuns selde die kern van die probleem is. Eerder, "die passievolle besorgdheid en belange wat mense aan hulle sosiale lewens verleen" is "'n groot gedeelte van alle klassifikatoriese dispute rondom kuns" (Novitz, 1996). Volgens Novitz is klassifikatoriese dispute meer dikwels oor gemeenskaplike waardes en waarheen die gemeenskap na op pad is as werklike teorie. Met byvoorbeeld die Daily Mail se kritiek op Damien Hirst en Tracey Emin se werk, waar geargumenteer is dat "Vir 1 000 jaar was kuns een van ons grootste beskawende kragte. Deesdae dreig gepekelde skape en vuil beddens om barbare van ons almal te maak", hulle is nie besig met die bevordering van 'n definisie oor die teorie van kuns nie, maar bevraagteken die waarde van Hirst en Emin se werk.[63] In 1998 het Arthur Danto 'n dink-eksperiment voorgestel wat toon dat "die status van 'n artefak as kunswerk ontstaan uit die idees wat 'n kultuur daarop toelê, eerder as die inherente fisiese of waarneembare kwaliteite. Kulturele interpretasie ('n tipe kunsteorie) is daarom bepalend van 'n voorwerp se kunsheid."[64][65]

Antikuns is 'n etiket vir kuns wat opsetlik die gevestigde parameters en waardes van kuns uitdaag;[66] dit is 'n term geassosieer met Dadaisme en toegedeel aan Marcel Duchamp net voor die Eerste Wêreld Oorlog,[66] toe hy kuns geskep het uit gevonde voorwerpe.[66] Een hiervan, die Fountain (1917), 'n gewone urinaal, het aansienlike prominensie bereik en invloed op kuns gehad.[66] Antikuns is 'n eienskap van werke deur Situationist International,[67] die laetrou Mail art movement, en die Young British Artists.[66] Dit is egter 'n kunsvorm wat steeds verwerp is deur die Stuckiste,[66] wat hulself beskryf het as anti-antikuns.[68][69]