If We Accept That Art Is Education Mainstraem Cinema Stayed in Elementary School
Note: Words in bold below are defined in the glossary for this curriculum (see "For the Classroom" links).
Strictly speaking, the term "contemporary art" refers to art made and produced by artists living today. Today'south artists work in and respond to a global environment that is culturally various, technologically advancing, and multifaceted. Working in a broad range of mediums, contemporary artists frequently reflect and annotate on modern-day society. When engaging with contemporary art, viewers are challenged to set bated questions such as, "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 abroad from realistic representation and the depiction of the man figure, and have moved increasingly towards abstraction. In New York City after World War Two, the art globe coined the term "abstract expressionism" to characterize an fine art movement that was neither completely abstract, nor expressionistic. Notwithstanding, the motility challenged artists to place more than accent on the process of making art rather than the final production. Artists like Jackson Pollock brought art-making to choreographic heights by dripping pigment in grand however spontaneous gestures. As one critic noted, the canvass was an loonshit in which to act—"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 chosen abstract expressionism, which profoundly influenced the art movements that followed, and continues to inspire artists living today.
Gimmicky artists working within the postmodern motility reject the concept of mainstream fine art and comprehend the notion of "artistic pluralism," the acceptance of a variety of artistic intentions and styles. Whether influenced by or grounded in functioning fine art, pop art, Minimalism, conceptual art, or video, gimmicky artists pull from an space variety of materials, sources, and styles to create art. For this reason, it is difficult to briefly summarize and accurately reflect the complexity 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 piece of work.
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Contemporary artists, similar many artists that preceded them, may admit and find inspiration in art works from previous time periods in both bailiwick matter and formal elements. Sometimes this inspiration takes the form of appropriation. Artist John Baldessari "borrowed" an image from 1505 of a stag beetle by the German artist Albrecht Dürer and made it his own. Using modernistic-day materials (ink-jet printing mounted on a fiberglass console), Baldessari juxtaposed the original prototype with a piece of sculpture in the form of a giant steel pivot. By inserting the steel pin into the canvas, Baldessari combines mediums in a very modernistic manner.
In the 1960s, artists began to plough to the medium of video to redefine fine art. Through video art, many artists have challenged preconceived notions of art as high priced, high-forehead, and only decipherable by elite members of lodge. Video art is not necessarily a type of art that individuals would want to own, just rather an experience. Standing the trend of redefining before ideas and ideals almost art, some contemporary video artists are seeking to practice away with the notion of fine art equally a commodity. Artists turning to video have used the art form as a tool for modify, a medium for ideas. Some video fine art openly acknowledges the power of the medium of boob tube and the Internet, thus opening the doors of the art world to the masses.
Such artists seek to elevate the process of creating art and move across the notion that fine art should just be valued as an aesthetically pleasing product. Video art exemplifies this, for the viewer watches the work every bit it is really being made; they picket every bit 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 active participants. Using innovative video technologies, participants tin can sit on replicas of 18th-century French chairs and picket idiot box screens in which they are virtually inserted in celebrated recreations of 18th-century French spaces. While traditional works of art are in galleries with signs that say "Do not touch," Cohen invites you to physically participate. In this way, the viewer becomes office 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 Center. In the Central Garden, which Irwin has playfully termed "a sculpture in the form of a garden aspiring to be art," viewers can feel a maze-like configuration of plants, stones, and water. Here visitors go completely immersed in the sensation of existence within the work of fine art. The sense of olfactory property, bear upon, and sound are juxtaposed with the colors and textures of the garden. All of the foliage and materials of the garden were selected to accentuate the interplay of light, colour, and reflection. A argument by Irwin, "Always irresolute, never twice the same," is carved into the plaza floor, reminding visitors of the always-changing nature of this living work of fine art. In this way, Irwin subverts the idea that a work of fine 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 fine 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 example of Irwin's garden and Martin Puryear's That Contour (also on view at the Getty Center), works of fine art are deputed by museums to raise and incorporate their surrounding environments. That Profile, stationed on the plaza at the foot of the stairs leading to the Museum, mimics the filigree-like patterns of the Getty Center building itself. Weighing 7,500 pounds, That Contour is massive. Yet the piece of work'south graceful and curving lines have a "light and airy" quality that capitalizes on the surrounding mountains and ocean views visible from the Getty'southward plaza.
Questions such as "What is art?" and "What is the role of art?" are relatively new. Creating fine art that defies viewers' expectations and artistic 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 express themselves and reply to social problems in a way that artists of the by were not able to. When experiencing contemporary fine art at the Getty Heart, viewers employ different 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 style towards agreement, and fifty-fifty affectionate, the art of our own era.
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Source: https://www.getty.edu/education/teachers/classroom_resources/curricula/contemporary_art/background1.html
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