How Did ââëœmodernã¢â⢠Artists Challenge the Notion That Art Must Realistically Depict the World?
Notation: Words in assuming below are defined in the glossary for this curriculum (meet "For the Classroom" links).
Strictly speaking, the term "contemporary fine art" refers to art made and produced past artists living today. Today's artists piece of work in and reply to a global environment that is culturally diverse, technologically advancing, and multifaceted. Working in a wide range of mediums, contemporary artists oftentimes reflect and comment on modern-day society. When engaging with contemporary art, viewers are challenged to set aside questions such as, "Is a work of fine art good?" or "Is the work aesthetically pleasing?" Instead, viewers consider whether art is "challenging" or "interesting." Gimmicky artists may question traditional ideas of how fine art is defined, what constitutes art, and how art is fabricated, while creating a dialogue with—and in some cases rejecting—the styles and movements that came before them.
Since the early 20th century, some artists have turned away from realistic representation and the delineation of the man figure, and accept moved increasingly towards abstraction. In New York City after Earth State of war 2, the art world coined the term "abstract expressionism" to characterize an art move that was neither completely abstract, nor expressionistic. All the same, the movement challenged artists to place more emphasis on the process of making fine art rather than the concluding product. Artists similar Jackson Pollock brought art-making to choreographic heights by dripping paint in thousand even so spontaneous gestures. Every bit ane critic noted, the canvas was an loonshit in which to act—"what was going on in the canvas was not a picture but an upshot." This notion of art as an result emerged out of the movement called abstract expressionism, which greatly influenced the art movements that followed, and continues to inspire artists living today.
Gimmicky artists working within the postmodern movement reject the concept of mainstream art and encompass the notion of "artistic pluralism," the acceptance of a variety of artistic intentions and styles. Whether influenced by or grounded in performance art, popular fine art, Minimalism, conceptual fine art, or video, contemporary artists pull from an infinite variety of materials, sources, and styles to create art. For this reason, it is difficult to briefly summarize and accurately reflect the complication of concepts and materials used by contemporary artists. This overview highlights a few of the contemporary artists whose piece of work is on view at the Getty Museum and the concepts they explore in their work.
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Gimmicky artists, like many artists that preceded them, may acknowledge and find inspiration in art works from previous time periods in both subject thing and formal elements. Sometimes this inspiration takes the grade of appropriation. Creative person John Baldessari "borrowed" an paradigm from 1505 of a stag beetle by the German language artist Albrecht Dürer and made it his own. Using modern-day materials (ink-jet printing mounted on a fiberglass panel), Baldessari juxtaposed the original image with a piece of sculpture in the form of a behemothic steel pin. Past inserting the steel pin into the sheet, Baldessari combines mediums in a very modern manner.
In the 1960s, artists began to turn to the medium of video to redefine fine art. Through video art, many artists have challenged preconceived notions of art as high priced, high-brow, and only decipherable by elite members of society. Video fine art is not necessarily a type of art that individuals would want to ain, just rather an feel. Standing the trend of redefining earlier ideas and ethics about art, some contemporary video artists are seeking to do away with the notion of fine art every bit a commodity. Artists turning to video take used the art form as a tool for change, a medium for ideas. Some video fine art openly acknowledges the power of the medium of idiot box and the Internet, thus opening the doors of the art world to the masses.
Such artists seek to drag the process of creating art and move beyond the notion that art should simply be valued as an aesthetically pleasing production. Video art exemplifies this, for the viewer watches the piece of work equally it is actually being made; they sentinel as the process unfolds. Video installation pieces combine video with audio, music, and/or other interactive components. In Nicole Cohen's Please Be Seated, viewers are asked to be agile participants. Using innovative video technologies, participants tin can sit on replicas of 18th-century French chairs and watch boob tube screens in which they are virtually inserted in historic recreations of 18th-century French spaces. While traditional works of art are in galleries with signs that say "Practice non touch on," Cohen invites you to physically participate. In this fashion, the viewer becomes part of the work of art.
Robert Irwin is another creative person who sought to involve the viewer, as seen in his garden at the Getty Heart. In the Central Garden, which Irwin has playfully termed "a sculpture in the class of a garden aspiring to be art," viewers can experience a maze-like configuration of plants, stones, and water. Here visitors get completely immersed in the sensation of being within the work of art. The sense of scent, touch, and sound are juxtaposed with the colors and textures of the garden. All of the leaf and materials of the garden were selected to accentuate the interplay of low-cal, color, and reflection. A statement by Irwin, "Always changing, never twice the same," is carved into the plaza floor, reminding visitors of the e'er-changing nature of this living work of art. In this way, Irwin subverts the idea that a work of art should exist paint on a canvas. Rather, nature can be art.
By creating a garden specifically designed for the Getty Center, Irwin engages in site-specific art. Many gimmicky artists who create site-specific works move fine art out of museums and galleries and into communities to accost socially pregnant bug and/or heighten social consciousness. In the instance of Irwin's garden and Martin Puryear's That Profile (as well on view at the Getty Center), works of art are deputed past museums to enhance and incorporate their surrounding environments. That Contour, stationed on the plaza at the pes of the stairs leading to the Museum, mimics the grid-like patterns of the Getty Centre building itself. Weighing 7,500 pounds, That Contour is massive. However the work'due south graceful and curving lines have a "light and airy" quality that capitalizes on the surrounding mountains and bounding main views visible from the Getty's plaza.
Questions such equally "What is fine art?" and "What is the office of art?" are relatively new. Creating fine art that defies viewers' expectations and creative conventions is a distinctly modern concept. However, artists of all eras are products of their relative cultures and time periods. Contemporary artists are in a position to limited themselves and answer to social issues in a way that artists of the by were not able to. When experiencing contemporary art at the Getty Heart, viewers use dissimilar criteria for judging works of art than criteria used in the by. Instead of asking, "Exercise I like how this looks?" viewers might enquire, "Do I like the thought this creative person presents?" Having an open mind goes a long way towards understanding, and even affectionate, the fine art of our own era.
Source: https://www.getty.edu/education/teachers/classroom_resources/curricula/contemporary_art/background1.html
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