In the 20th century, there was a significant shift in the art world. Art was no longer just something to look at; the idea became art. This change challenged traditional norms and required artists to think deeply about the nature of art. Artists were expected to create visually appealing works and engage with intellectual and philosophical questions about art. This shift also forced artists to consider the purpose and value of their work and their role in a world where art was increasingly connected to commerce and market forces.
Since the 1970s, money has played a more significant role in art, affecting how artistic merit is perceived. The art market has grown, and art has become more like a commodity. The choices artists make now have broader social implications. Despite this, visual art has struggled to stay relevant to society.
Herbert Read's thoughts, as discussed by George Lechner, highlight this disconnect. Read suggests that most people in modern society do not care much about art. They see it as a cultural asset that enhances social status rather than something that profoundly affects their lives. According to Read, this disinterest comes from modern art's complexity and symbolic nature, which is often only understood by those who have studied its meanings. The tension between art's elite status and the democratic nature of modern society remains unresolved, showing that art is still disconnected from public life.
The concept that "an idea alone can be art" reflects a society increasingly demanding empirical validation for concepts. However, as Paul Klee noted, the alienation of art from the people remains a persistent issue, especially when art becomes so abstract or idea-driven that it loses its emotional or aesthetic resonance with society. Unlike scientific ideas, which can be empirically proven or disproven over time, artistic ideas remain subjective and open to interpretation, leading to further estrangement between art and its audience. In his essay "Concerning the Spiritual in Art," Wassily Kandinsky suggested that each period of culture produces its own art, which can never be repeated, indicating that art's evolution is tied to the unique conditions of each historical moment.
Artists have long faced the paradox of producing work that seeks to break new ground while also contending with the limitations of form and perception. Movements such as Cubism, Dada, and Abstract Expressionism arose from this tension, each presenting its way of interpreting or rejecting the material world. The declarations made by artists—whether aligning themselves with movements like Impressionism or rejecting traditional forms in favour of Conceptualism—represent artistic and personal liberty. Though seemingly undemocratic, these positions offered a personal stance for the artist and a new way of seeing society.
Despite their marginalized positions, artists have historically played a crucial role in pushing the boundaries of human thought and culture. As society continues to evolve, the positions taken by artists may eventually become integral to the broader cultural landscape. This marginalization is also tied to their dependence on patrons and markets, which often limits the full realization of their artistic potential. Nevertheless, the history of art suggests that the innovations artists introduce, even from the fringes of society, have the potential to transform cultural norms over time.
The relationship between art and society remains complex and fraught with tension. As long as art operates at the intersection of market forces and intellectual inquiry, artists will continue to navigate the challenges of balancing creativity with commerce and form with formlessness. The future of art will depend on how well it can adapt to these forces while maintaining its integrity as a vital and transformative force in human civilization.
2. Harrison Charls- Art and Language-:Basil Blackwel: 1991, P:1 pg:33
3. Lechner Georg -Philosophy of modern art: Herbert Read, quote from Art –east and west: p5:p9 Art today : Marg Publication
4. Lechner Georg -Philosophy of modern art: Herbert Read, quote from Art –east and west: p12:p10 Art today : Marg Publication
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