Serious art is hard work. Even though technically I could master a variety of media, I could never be a professional artist because there's no way I'd have the discipline to make myself productive enough to support myself financially. It doesn't help that my preferred style is obsessively fussy and permanently unfinished due to meandering ideas as the work progresses. But at least in architecture/civil engineering I'll have something of an outlet aside from my personal pet projects at home. People who succeed in art as work are worthy of respect.
Now as for artists who look down on anything connected with practicality, I have little interest in those. Though I suspect the more egregious offenders tend to be art critics and writers rather than significant artists themselves. Though, believe it or not, some of those people are really quite useful in putting art and society in perspective. (Mostly I read about architectural design; the other arts have interest to me primarily as they are incidental to architecture). In particular, I recommend reading books by
Sir Nikolaus Pevsner for giving an excellent synopsis of art and architecture through the centuries. I probably learned more history reading his and other art history books than I did in actual history classes, which are admittedly rather pathetic here.
For some real irony, read
Form Follows Fiasco: Why Modern Architecture Hasn't Worked, as well as any books containing criticism of modern/international style architects from the 20th century, Mies van der Rohe in particular. He is such an artistic hypocrite. In his early written works he claims to "reject all aesthetic speculation" and be a purely rational builder. All decoration was banned, and cladding stripped away to reveal the "honest" structure. Yet the owner of the
Farnsworth House sued him because the house was unlivable: no openable windows, insufficient heating and cooling, and expensive to maintain. He had decided that all buildings must be a form of universal glass and steel box. Yet this ignores many practical considerations such as privacy, ventilation, passive heating and cooling and effects of the local climate, locally available materials and their economics, lifetime energy costs, etc. And why? Ultimately to satisfy his own aesthetic choices. It was more important to appear rational, that is cold, industrial, and unconcerned with human emotion or frailty, than to put a lot of thought into all these aspects of use.
The point of this little rant is that it is impossible to fully rid ourselves of aesthetically influenced choices, and that trying to do so just leads us to imposing an aesthetic that we won't admit is nearly as arbitrary as the most whimsical, if cheaper than the most opulent. We
cannot live without art because we will continue to invent it even if we try to deny it. So we might as well pay to have good art if we're going to have art anyway. If we do not value ourselves enough to pursue delight, why should we bother persisting?
Every day is victory.
No victory is forever.