The famous 17th hole of the TPC at Sawgrass Stadium Course.

Golf is played in an area of land designated a golf course. A course consists of a series of holes, each consisting of a teeing area, fairway, rough and other hazards, and the green with the pin and cup. A typical golf course consists of eighteen holes, but many have only nine. Play of the game

Every game of golf is based on playing a number of holes in a given order. A round typically consists of 18 holes that are played in the order determined by the course layout. On a nine-hole course, a standard round consists of two successive nine-hole rounds. Playing a hole on the course golf consists of hitting a ball from a tee on the teeing box (a marked area designated for the first shot of a hole, a tee shot), and once the ball comes to rest, striking it again. This process is repeated until the ball is in the cup. Once the ball is on the green (an area of finely cut grass) the ball is usually putted (hit along the ground) into the hole. The goal of resting the ball in the hole in as few strokes as possible may be impeded by hazards, such as bunkers and water hazards In most typical forms of gameplay, each player plays his or her ball from the tee until it is holed.

Players can walk or drive in motorised carts over the course, either singly or in groups of two, three, or four, sometimes accompanied by caddies who carry and manage the players' equipment and give them advice. Each player often acts as scorer for one other player in the group, that is, he or she records the score on a score card. In stroke play (see below), the score consists of the number of strokes played plus any penalty strokes incurred. Penalty strokes are not actually strokes but penalty points that are added to the score for violations of rules or utilizing relief procedures.

Par

A hole is classified by its par, the number of strokes a skilled golfer should require to complete play of the hole For example, a skilled golfer expects to reach the green on a par-four hole in two strokes (This would be considered a Green in Regulation) , one from the tee (the "drive") and another, second, stroke to the green (the "approach") and then roll the ball into the hole in two putts for par. Traditionally, a golf hole is either a par-three, -four or -five; some par-six holes exist, but are not usually found on traditional golf courses

Primarily, but not exclusively, the par of a hole is determined by the tee-to-green distance. A typical length for a par-three hole ranges between 91 and 224 metres (100–250 yd), for a par-four hole, between 225 and 434 metres (251–475 yd). Typically, par-five holes are at between 435 and

Art has been perceived by some as belonging to some social classes and often excluding others. In this context, art is seen as an upper-class activity associated with wealth, the ability to purchase art, and the leisure required to pursue or enjoy it. For example, the palaces of Versailles or the Hermitage in St. Petersburg with their vast collections of art, amassed by the fabulously wealthy royalty of Europe exemplify this view. Collecting such art is the preserve of the rich, or of governments and institutions.

Fine and expensive goods have been popular markers of status in many cultures, and continue to be so today. There has been a cultural push in the other direction since at least 1793, when the Louvre, which had been a private palace of the Kings of France, was opened to the public as an art museum during the French Revolution. Most modern public museums and art education programs for children in schools can be traced back to this impulse to have art available to everyone. Museums in the United States tend to be gifts from the very rich to the masses (The Metropolitan Museum of Art in New York City, for example, was created by John Taylor Johnston, a railroad executive whose personal art collection seeded the museum.) But despite all this, at least one of the important functions of art in the 21st century remains as a marker of wealth and social status.

Performance by  1978 : Everyone an artist — On the way to the libertarian form of the social organism.

There have been attempts by artists to create art that can not be bought by the wealthy as a status object. One of the prime original motivators of much of the art of the late 1960s and 1970s was to create art that could not be bought and sold. It is "necessary to present something more than mere objects"^[22] said the major post war German artist Joseph . This time period saw the rise of such things as performance art, video art, and conceptual art. The idea was that if the artwork was a performance that would leave nothing behind, or was simply an idea, it could not be bought and sold. "Democratic precepts revolving around the idea that a work of art is a commodity impelled the aesthetic innovation which germinated in the mid-1960s and was reaped throughout the 1970s. Artists broadly identified under the heading of Conceptual art... substituting performance and publishing activities for engagement with both the material and materialistic concerns of painted or sculptural form... [have] endeavored to undermine the art object qua object."^[23]

In the decades since, these ideas have been somewhat lost as the art market has learned to sell limited editionf video works,^[24] invitations to exclusive performance art pieces, and the objects left over from conceptual pieces. Many of these performances create works that are only understood by the elite who have been educated as to why an idea or video or piece of apparent garbage may be considered art. The marker of status becomes understanding the work instead of necessarily owning it, and the artwork remains an upper-class activity. "With the widespread use of recording technology in the early 2000s, artists, and the gallery system that derives its profits from the sale of artworks, gained an important means of controlling the sale of video and computer artworks in limited editions to collectors."^[25]