Visual Arts

The term Art (derived from the Greek verb in the western world. She then pointed to the arts on the modeling as the sculpture , the pottery and architecture. As designo del arte (in Latin, deliberately : "intention to run something, a project") of the Renaissance , which consisted in painting and graphic arts (ie the arts of those surface and volume) This phrase is from the ^nineteenth century refers to any art that has an action on the matter, even reminiscent of the forms, representations (like poetry ). Today we add the works exploring the old and new media (photography, film and video, digital media, etc..), and many artistic practices experimental.

The word plastic seemed necessary after the legacy of modern art , particularly after the Dada , the collages surreal , to Marcel Duchamp and the pioneers of conceptual art. Questioning the status of the work and role of the artist in society, these movements have extended the fields visible in the search for refusing beautiful as the sole basis and by questioning the hierarchies of the arts, media and media. Many avant-gardes , the performance and response ephemeral evidence of these forms of "plasticity" current, understood as "all artistic devices giving to see and feel the representation .

Although imprecise and compete with the visual arts (more common in the world (in) the Anglo-Saxon ), but often opposed in the Francophone world to applied arts and decorative and certain practices considered popular , amateur , homemade or business , this expression has emerged in contemporary art through the use of artists calling themselves to be artists and convenience (erroneously) the distinction with other families beyond the artistic activities of leisure or sports : the music , the performing arts (drama, dance, circus, etc..), the literature and sometimes the architecture. By tending to cover all items covered by the history of art , or for the heritage cultural , it moves away from the usual sense, sometimes elitist , in media of art and criticism current.

In France , the institutional recognition of art arrives in 1969 with the first units of teaching and research (EBU) in universities , then in 1982 with their counterparts in the Ministry of Culture . The School of Fine Arts at that time still symbolized the traditional approach pushed by the humanities , and little change in line with contemporary art field. One consequence of these new directions was his separation from the schools of architecture (in short, due to the tension since the ^nineteenth century between engineers and writers). He was also National Education renovate arts education in secondary education (art classes, in addition to music) in creating a curriculum and academic support teacher recruitment . In this sense the visual arts discipline is one of the places of artistic training , typically French and sometimes described as critical practice , among workshop, school and university institute of art, within the cultural policy of state.

The place of art in society: modern art and contemporary art, the loss of landmarks

Immanuel Kant is that, in the ^eighteenth century , introduced the term art. He then entered the discipline in the philosophical tradition by identifying the arts of form. The notion of visual arts appear officially until later, that is to say, in the 1970s. However we can still apply this concept to modern times and contemporary art that we located from the questioning of the academic as it is from this period that really opens the field art. Already a breach emerged with new pictorial subjects. Among them breakfast on the grass of Manet , a work rejected by the official Salon of 1863 but refused to exhibited at that year's Olympia, or exposed to it on the show but the official scandal. Then in the same series of works deemed "obscene", one can see The Origin of the World Gustave Courbet. Then it is the mode of representation that is renewed, and one of the precursors is Claude Monet with his Impression, Sunrise exposed in 1874 in the former studio of photographer Nadar converts Salon independents. This painting was originally the movement impressionist named as an art critic during this exhibition. After that, other movements are born again of the scandal. Another failure was that of the abstraction that marks the loss of a critical benchmark: the numbers. Finally, another mark disappears with the advent of the ready-mades of Marcel Duchamp: the aesthetic dimension of the work. What relationship the company maintains it is with the art if there is more these benchmarks that were the foundation of art since, arguably, its origin? This issue is directly related to the notion of art was born with part of modern art and putting up new forms and new media up to the hybridization of artistic fields and the contribution of other specialties are not from the art. We will see how these new forms are integrated into society and what may be the relationship between art and society and finally what new ideas bring these new visual forms.

How do these new forms are they integrated into the company by whom?

The state is one of the players in the world of contemporary art. It puts in place measures to incorporate some type of art in society. They include, for example, the policy of 1% Cultural and various cultural events such as the International Fair of Contemporary Art, but that does almost as artists now dead or already known, and still other means of disseminating art that are mostly ignored by the general public. The various museums usually belong to the state what is contemporary art or art older. The state also has specialized funds such as the Regional Fund for Contemporary Art or the National Fund of Contemporary Art which are places of exhibition of the collections of the state. Other means of dissemination of art also depend on the state. But there are many paradoxes in this organization. The first is that the state maintains an art based on the market and this is in contradiction with what the artist has always claimed, that his freedom. Let us for example about the artist Gerry Schum , who said in an interview on one of these performances, the Italian artist Lucio Fontana always created the same type of work, including paintings slashed. This concept, which emphasizes the opening of the performance space was a success within the art market. We can therefore assume that the artist has left his own creative freedom to stay in a concept called the art market. The second paradox is that the state provide for disclosure of the art he advocates, while rejecting other forms of artistic expression. It would seek to establish an educational dialogue between the works and the public is the primary means of formal recognition of certain works of art while they are misunderstood, rejected or even ignored by the public. Finally, another paradox is a direct link with the artistic production of numerous works are of considerable size, such as facilities that require an exhibition is dedicated to them and that can not be displayed in an individual. So the creation itself here, which restricts the scope of acquisition. It is established therefore a real tension between the artist who wishes to establish a proper dialogue with the public and the institution which wants to be as the manager of the establishment but who fails in this area.

However, many artists are trying to get out of the institutional system. They want to get closer to the public and work most often on the urban environment. Some of these artists are part of what we now call the art "in situ" because their creations can be detached from the environment in which they operate: the exhibition is an integral part of the work. We can cite for example Miss Tic , Daniel Buren or even Ernest Pignon-Ernest etc. Most often these works are accessible to all as they are in the public space and you can see in it the direct link between artist and viewer, though, of course, they are often exhibited in galleries in the form photographs or other. One can also cite the mail artists who want to divert all institutions by circulating their creations without having to art institutions, or the land artists working on the landscape but that create ephemeral works, or many other emerging what the system closes the institution to regain some artistic freedom.

The role of private institutions in the field of art is as great but sometimes we tend to forget they do not belong to the state. They allow broadcast, restore and preserve collections much better than the state as they often have more resources. With regard to private foundations or private museums, most of the time the collections have been assembled and is purchased by a collector or an artist, etc.. Another private institution of a different order is the art gallery. It serves as an exhibition and sale. Everyone can see the work for free, which could be an asset to the diffusion of artistic culture. However it often attract an elite art connoisseurs and amateurs.

See also cultural policies

What is the relationship established between society and art?

These new plastic forms are, for the majority, rejected and misunderstood by the public. They cater mainly for some connoisseurs. This is one of the paradoxes of this part of the art since he wants to go to a public that has grown but is sidelined the entire system that puts art in place.

Now the works of art more readily unequivocally urge the public to observe, it does not feel like they are watching. The aesthetic dimension, which was a common value to all, is now lost for the supporters of this art, or sometimes even overshadowed. Today the work has mainly philosophical, conceptual, political, etc.. But who can claim an interest in all these areas? Of course, this is not the majority of the population. But then look what should I wear on these works? How to deal with this misunderstanding? Note that these works do not require the viewer to adopt a purely intellectual place, otherwise they could be reduced to a simple theoretical text or a simple illustration. On the contrary, whatever its appearance, a work of art requires the aesthetic attitude is to say, she asks one sees it also in our imagination and perception. Therefore, the work of contemporary art, though it is appealing to our intellect we thought provoking, this does not mean that it will take longer look away from it, since this look that makes it be implemented. In other words, a work of art it is just a proposal, or even a non-object art, requires the public's ability to play the game, that is to say "see" as art what appears to be for him anything but art, and to consider the implications of this decision and what it reveals what kind of experience. It's still really hard to understand the works of contemporary art since most of the time they set up a reflection on their own existence (self-reflection) that leaves little room for interpretation outside. Thus the work becomes a coded language, reserved for insiders who already know the work upstream, who know what the artist wanted to put in place. In this regard, these works of the ^twentieth century were often accompanied by overt or theoretical writings of artists on their own works.

With Marcel Duchamp and his famous urinal, Fountain, the criteria for art, which remained the same since always burst. The art object no longer has any use value or symbolic value, or even aesthetic value. This marks a further break is now the intention of the artist who did work on condition that it be recognized by the institution. It is indeed the institution that recognizes the artistic value of the object. Note that the institution is not only the exhibition but also the media, art critics, historians, curators, "the creation of inspectors in the Ministry of Culture, etc.. In brief while those based on private and small circle of oligarchs or some connoisseurs of art. However, two other important criteria determine these works of art and media speculation. These works have become an object of exchange whose value can vary, such as stocks on the exchange. Indeed, according to the trend, as during the art market , the work takes more or less value. The media is there for something: it is the media who stalk the scandal, the fact that art looks great, etc.. It is mainly they who allow the artist to be recognized. For example, if a new artistic concept, put on display in a gallery or another, like on the art market, the artist will become more publicized and the price of the work will increase. The work then becomes collectible, always popular.

New plastic forms that lead to new thinking

In the ^twentieth century , we can say that part of the painting was looking for, or already beginning to break away from everything that had so far determined: the representation. Moreover, the advent of photography questions the function of painting, that is to say its power to reproduce the image of reality. Indeed, the Nabis , or painters like Van Gogh or even Paul Cezanne apply to take more account of the atmosphere, the atmosphere made by the representation rather than representation itself. They work the color, shape, rendering the light etc.. The ideal of beauty in the representation is no longer on the agenda for some. This attitude marks a real detachment with the values determined at the time considered "academic" and "official." Follow the ^twentieth century the cats or the Cubists already sometimes rooted in abstraction. Increasingly, the representation is undermined. With Kandinsky abstract painting is at its peak. It sees through the paint, detached from the representation, so in the purity of form and color, medium to express the content of the soul. This clearly recalls the myth of the cave of Plato , where the slave pulls the world of shadows and reflections (the representation) to enter the world of ideas, including the Absolute, which is the Good, is also highest quality of soul. This raises the question of a possible autonomy of art as it is no longer locked into the system of representation, but expresses only now, the report sensual and intellectual artist has compared his work but also the work from its audience. The viewer is free of the barrier that was the performance: he lets himself be seduced naturally or not the artwork that is present to itself, that is to say just wait for the viewer an attitude aesthetic and intellectual, not to be judged on any other value whether technical or otherwise. (Way more or less represent reality, etc..).

Another value is in question, that of aesthetics. Already in the ^nineteenth century this value is changed. Le Beau no longer has the same values. One thinks, for example, when Monet and Courbet "beauty" is no longer in the imitation of nature as we perceive it, nor even in the established topics of the Academy of Fine Arts. And from the ^twentieth many movements reject the notion of beauty, especially after ^the 1st World War, such as expressionism and new objectivity (and for Heidegger beauty is the "plague of war"). And the more time passes, the artists ignore the aesthetic value of the artwork. They do more of it the criterion which determines the work as such. This attitude shows criticism of the "good form" that was imposed by the academy from the late ^nineteenth century and the affirmation of creative freedom and experimentation in the field of art. But this "innovation" lies not only in formal. Many movements have used materials from industry or daily consumption, that is to say non-noble materials, as can be seen in the pop art or art brut or any material when he Examples of conceptual art. These creative trends, which persist even today, marking the ambition to abolish the borders between "low" and "high" culture to bring art more easily in society. But art has always struggled to fit into society because she lives more in the urgency of action, promotes the functional and the practical arts, while asking that we take the time to contemplate.

The modern art and especially the contemporary look much more work to integrate into everyday life. So he set up in new ways, new ways to bring the work to the public and this also involves the presentation of the work or even by introducing the concept introduced by the work. Often invested in the work space becomes active, and sometimes an integral part of the work: it is in the facility. The artist Dan Graham is setting up facilities in which the viewer participates in different ways to "finish" of the work. On the one hand it acts in space and time, and secondly it questions the concept of art is to say what makes a work of installation art. In one of them, Opposing Mirrors and Video Monitors on Time Delay, the importance of place, space occupied by the facility must be taken into account. Indeed, the work does not appear to us in the same way as a painting or a sculpture. These could be exposed in any place, they would retain more or less autonomy in space, separated from it. The painting, for example, has an artificial space and exposes itself in real space is not continuous with the space it represents. Here, however, space is an integral part of the installation. The viewer enters the work and now has a participatory role since it is filmed, it is the video player and then becomes a spectator of himself, his own environment space / time, namely its immediate past, when the video is rebroadcast on another screen. Many other works set up a presentation of original work that challenges the audience and the actor is now making the concept established by the artist.

Quotes

• "Knowing that the work is intended for the museum, the artist gives him the proper form directly to the staging museum (eg the large format of American painting) and then identifies the work to the museum. Because the museum appears as the object of artistic activity, the purpose of art history, even though this is an alienation of art comparable to that for the purpose of our lives, c is the cemetery. " "The end of the avant-garde has been accomplished without our knowledge during the 70s. The real theme common to all avant-gardes of the twentieth century, after the discovery of the idea of history in the nineteenth century, now seems beyond all realistic images, abstract, random, conceptual or assets: c is the desire and genital instinctual to be creators of History of Art. The avant-garde wanted to show us the creative gestation immediate history of art, made visible by the sudden acceleration of pace hitherto secular. Promethean myth of sexual tension. "( Herv Fischer , history of art is complete , 1981, p. 43 and 66)

• Constantin Brancusi, Romanian-born French sculptor (1876 -1957 Hobita Paris) whose work exceptionally renewed artistic concepts of form in sculpture:

"This is not the external form of things which is real, but the essence of things from this truth, it is impossible for anyone to express anything real by imitating the outer surface of things. There is a purpose in all things, to get there, you have to identify oneself. "(source: thoughts Constantin Brancusi - quote)

• "I killed more than sixty trees, sixty and seventy young goddesses stones bronze sculpture to commit. I also killed the nightmares of Michelangelo , the uncertainties of Magritte and the regrets of Montesquieu , (thus, by implication, I have annihilated the whole entire reason for the greatness of the Romans and their decline). Although I am familiar profusely aves commands, and peaks with the visual arts and graphics, I did not put my step in the footsteps of other teachers in my ways or paths of different metaphysicians. When, in the light, the outline of a person emerges, it remains only a shadow: the eyes, ears, eyelashes are appendices form acquires a mystical Dimensions. When the sun died while his art condemned to disappear in total darkness except one: the sculpture - which remains palpable, touchable and caressing. On Christmas Eve we go to church. In the limit of our tragedies we go to the Hall of Sculpture to caress the only hope we have left tangible: the dream. There is not no life, no future, no fine art without dreams. Understanding the dream means understanding the Universe. indubitable conclusion, it is essential to use the dream to create any work. Thus begins the only way for the masterpieces ... The Spirit Dream causes the galaxies, life and art "(Source: thoughts Botarro - quote)

References

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