|
SYNOPSIS
Modern art can be defined as attempting to define what is art and what is non-art. There has been a trend in recent years, however, to concentrate less on the border between the two and, instead, on the synthesis of the formerly autonomous "artistic" with non-art, without considering it to be art itself.
The last two documenta exhibitions are good examples thereof, incorporating a global approach to political and social issues. References to Pop and Conceptual Art that were new in the '60s, to political and social dimensions of art, and the New Media are intended to add a contemporary, globally comprehensible element to the production of art.
What this neglects, however, is mistrust of an art that cannot be translated into cognitive knowledge. A theoretical approach, focussing on realistic, issue-based work negates sensuality, lust, and taste, deigning to avoid them altogether. The vague category that fulfills such needs is labelled "painting", and is thereby relegated to insignificance: it re-surfaces in photography and installation art. Yet conceptual art is also perceived using our senses, and this is precisely why it "works".
A more intelligent and sensual approach to the relationship between theory and practice, between reflection and aesthetic desires would be welcome. The current situation concurs with Plato's notion that art is merely useless deception of the senses. But art has, until now, succeeded - despite any theoretical threats to its existence.
|
|
|