he sculpture, see the way that these natural forces work through and with the sculpture for various effects and view the animated landscape around the sculpture to see how it interacts with the world around it. In addition, different types of sculpture work in different ways, all employing their own techniques to illicit a desired response in its viewing audience. The way that these parks come into existence and the effect they have on their audience is collectively referred to as an ‘art world.’ This is because the production of this work is dependent on a variety of factors. “The existence of art worlds, as well as the way their existence affects both the production and consumption of art works, suggests a sociological approach to the arts. It is not an approach that produces aesthetic judgments, although that is a task that many sociologists of art have set for themselves. It produces instead an understanding of the complexity of the cooperative networks through which art happens” (Becker, 2008: 1). Through its interaction with its natural settings, simplicity of design and the patience of the viewer, contemporary sculpture succeeds in conveying a message to cultures worldwide as is evidenced by the art world of a sculpture garden such as the “Real World” by Tom Otterness.
When discussing current art practices, including many of the approaches recently taken to sculpture, it is important to include the main ideas associated with the “politics of representation.” This collective term makes a distinction between the content of an image and the form of the image, or the sublime versus the visual. This idea suggests that the content or the sublime cannot have its own form or visual nature, but that the form is indivisible from the content whether the creator intended this connection or not. The reason for this phenomenon being that art is not static, but rather interactive with its audience and the political and social ideas of the