Is the Questioning of Norms and Conventions in Art
Note: Words in bold below are divers in the glossary for this curriculum (see "For the Classroom" links).
Strictly speaking, the term "contemporary fine art" refers to art fabricated and produced past artists living today. Today'south artists work in and reply to a global surround that is culturally diverse, technologically advancing, and multifaceted. Working in a wide range of mediums, contemporary artists often reflect and comment on modern-mean solar day guild. When engaging with gimmicky fine art, viewers are challenged to fix aside questions such every bit, "Is a piece of work of art good?" or "Is the work aesthetically pleasing?" Instead, viewers consider whether art is "challenging" or "interesting." Contemporary 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 human being figure, and accept moved increasingly towards abstraction. In New York City later on Earth War II, the art world coined the term "abstract expressionism" to characterize an art motility that was neither completely abstract, nor expressionistic. Even so, the movement challenged artists to place more than emphasis on the procedure of making art rather than the terminal production. Artists like Jackson Pollock brought art-making to choreographic heights by dripping pigment in one thousand notwithstanding spontaneous gestures. Equally ane critic noted, the sail was an loonshit in which to human action—"what was going on in the canvas was not a picture but an event." This notion of art as an event emerged out of the movement called abstract expressionism, which greatly influenced the fine 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 embrace the notion of "creative pluralism," the acceptance of a variety of creative intentions and styles. Whether influenced past or grounded in operation art, pop art, Minimalism, conceptual art, or video, contemporary artists pull from an infinite variety of materials, sources, and styles to create art. For this reason, information technology is difficult to briefly summarize and accurately reverberate the complication of concepts and materials used by contemporary artists. This overview highlights a few of the contemporary artists whose 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 observe inspiration in art works from previous time periods in both subject area thing and formal elements. Sometimes this inspiration takes the course of appropriation. Creative person John Baldessari "borrowed" an image from 1505 of a stag beetle by the German artist Albrecht Dürer and made it his own. Using modern-day materials (ink-jet printing mounted on a fiberglass panel), Baldessari juxtaposed the original paradigm with a piece of sculpture in the form of a giant steel pin. By inserting the steel pin into the sail, Baldessari combines mediums in a very modern fashion.
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 but decipherable by aristocracy members of society. Video art is not necessarily a type of art that individuals would want to ain, simply rather an feel. Continuing the tendency of redefining before ideas and ideals about art, some gimmicky video artists are seeking to practise away with the notion of art as a article. Artists turning to video have used the art course every bit a tool for modify, a medium for ideas. Some video art openly acknowledges the power of the medium of television and the Cyberspace, thus opening the doors of the fine art world to the masses.
Such artists seek to elevate the process of creating art and move beyond the notion that art should only be valued every bit an aesthetically pleasing product. Video art exemplifies this, for the viewer watches the work as it is really being made; they lookout man as the procedure unfolds. Video installation pieces combine video with sound, music, and/or other interactive components. In Nicole Cohen'due south Please Be Seated, viewers are asked to be agile participants. Using innovative video technologies, participants can sit down on replicas of 18th-century French chairs and watch television 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 "Practise non touch on," Cohen invites y'all to physically participate. In this style, the viewer becomes part of the work of art.
Robert Irwin is some other artist who sought to involve the viewer, every bit seen in his garden at the Getty Centre. In the Central Garden, which Irwin has playfully termed "a sculpture in the form of a garden aspiring to exist art," viewers can experience a maze-like configuration of plants, stones, and water. Here visitors get completely immersed in the awareness of being within the piece of work of fine art. The sense of smell, affect, and audio 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, colour, and reflection. A argument by Irwin, "Always irresolute, never twice the same," is carved into the plaza flooring, reminding visitors of the always-changing nature of this living work of art. In this style, Irwin subverts the idea that a work of art should be paint on a sheet. Rather, nature tin be art.
By creating a garden specifically designed for the Getty Center, Irwin engages in site-specific art. Many contemporary artists who create site-specific works move art out of museums and galleries and into communities to accost socially significant issues and/or raise social consciousness. In the case of Irwin's garden and Martin Puryear's That Profile (also on view at the Getty Centre), works of art are commissioned by museums to raise and incorporate their surrounding environments. That Profile, stationed on the plaza at the pes of the stairs leading to the Museum, mimics the filigree-like patterns of the Getty Heart building itself. Weighing 7,500 pounds, That Profile is massive. Still the piece of work'south graceful and curving lines take a "calorie-free and airy" quality that capitalizes on the surrounding mountains and body of water views visible from the Getty's plaza.
Questions such as "What is art?" and "What is the role of art?" are relatively new. Creating 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. Gimmicky artists are in a position to express themselves and respond to social issues in a manner that artists of the past were not able to. When experiencing contemporary art at the Getty Middle, viewers apply dissimilar criteria for judging works of art than criteria used in the by. Instead of request, "Do I like how this looks?" viewers might ask, "Do I like the idea this artist presents?" Having an open up mind goes a long mode towards agreement, 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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