Contemporary art has evolved from the end of World War II to the present day, and while the terms "contemporary" and "modern" are closely related, they are not opposed to each other. Contemporary art can be considered a continuation of modern art and admits to rejecting the artistic traditions of more classical periods. However, it is controversial and often distant from the general public, who considers it easy and devoid of visual meaning and beauty.
In the past, art was considered a work created by an artist who could have spent days on detail. However, contemporary art now displays many forms, uses many mediums, and brings together a number of artists who are very different from each other. Some contemporary works are non-figurative and technical simplicity, making them accessible to a majority of people.
The general public, as opposed to the specialized, informed public, keeps its distance from contemporary art. Uninformed spectators find it dishonest that works of this type are presented to them and sold for exorbitant sums. Previously, works of art were admired by the greatest number, but today, people keep their distance from them, no longer dazzled by the infinite accuracy of the representation in front of them.
Art has evolved significantly, with artists now presenting their work with more intellectual content. The argumentation accompanying a work has become essential, as without the artist's opinion or explanation, the work is meaningless. For example, French sculptor César's compressions require understanding, and conceptual art can be difficult to understand. Artists like Joseph Beuys and French artist ORLAN have faced criticism for their unconventional approaches, such as transforming their bodies through cosmetic surgery.
Contemporary art is often controversial, with artists like Jean Monneret expressing their own views on the subject. Monneret's 1999 pamphlet, "The State wants to make the public believe that there is only one art worthy of interest, so-called "contemporary" art, that is to say, State art," argues that works in public places are selected and purchased by civil servants themselves, following the same selection criteria. This influence of certain disciplines on others is seen as a continuation of the artistic tradition, as installation, performance, or uncultured art are seen as historical, linear, and indisputable.
Contemporary art often questions its position and role in the arts, as classical art and its codes are often present in art schools. Artists now focus on reflection and understanding the notions and codes that make up past works. The question of representation is a subject of interest for many contemporary artists, such as Joseph Kosuth's One and Three Chairs.
Technical progress has allowed art to take a multitude of forms, including photography, computer performance, and performance art. Artists can now work from any medium they desire, and the Avant Garde movement has provided artists with complete freedom of action. Performance art, such as Gilbert Proush and George Passmore's The Singing Sculpture, allows for live work and experimentation with the living body.
The industrial era provides technical means that allow artists to work on larger scales, allowing them to engage in grandiose works. French artist couple Christo and Jeanne-Claude have wrapped historical monuments in thick synthetic canvas, resulting in theoretical notions with undeniable visual power.
However, contemporary art often lacks a good image, as it is often considered easy for those who do not see themselves equipped with the means of understanding necessary to grasp the work of certain artists. Artistic documentation remains specialized and not accessible to individuals from ordinary education.
Contemporary art seeks to challenge the codes of the artistic tradition, which requires fine explanations for delicate subjects. Art has changed simultaneously with technology, providing access to diverse and efficient mediums. However, little is done to make art accessible to everyone, as schools still present it under old references and media relay artistic information when commercial stakes force it.
seen in France
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