Art Takes a Life of Its Own Artists Beyond Intention
Since writing my last article for EmptyEasel on financial success in art, I take been deluged with comments and opinions most whether commercial fine art can be fine art (and vice versa) or whether those distinctions are even relevant.
This subject still remains of interest to me, particularly considering it is primarily within our ain profession that the controversy rages.
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As I type this, an exhibition is going on in my dwelling house town that features the work of 5 graphic artists. A local writer wonders if this exhibition is "high art" and connects the piece of work to that of the 1950's pop art motility. But why wonder?
Let's look at how "fine fine art" is divers
Throughout the course of history, fine art centers and art schools ever brought forth the next era of artistic expression—they adamant what was art by bringing it into the mainstream.
The limiting gene was speed of communication betwixt various centers of artistic learning, so widespread acceptance of new movements took longer than it does now.
Today our world is bombarded with ideas and imagery at a much quicker rate than e'er before, only with instantaneous communication (via the net) it'southward easier to keep upwardly.
Now that society is digital, why isn't digital art art?
In add-on to globalizing knowledge over the web, computers routinely assistance us create visual concepts likewise (and personal computers have been around for over three decades). Then why are we still struggling with the idea of digital art every bit fine art?
In my opinion, the definition of "fine art" must evolve to encompass both the creativity and advanced power of this generation. . . and it's long overdue!
Equally evidence of that, I'd like to nowadays the massurrealism motion, named past creative person James Seehafer. Kind of a cross between popular art and surrealism, this "movement" plays off of mass media communications, finding its viewing audition in print, movies, music videos and yes, galleries.
Officially, massurrealism is listed as starting in 1992 as a "grass roots art style" that soon spread from New York to Los Angeles and then overseas. It isn't the credo of massurrealism I depict attention to, it is the imagery.
Take a look at this screen capture of ane of Seehafer'due south works.
This is a clear example of "fine art" using advanced technology and unconventional media that even art historians are recognizing equally a bonafide motility.
With this precedence, can any other kind of digitally created artistic expression be excluded from beingness designated equally fine art? Digital and graphic art (regardless of their commercial employ) is not a new manner—it is, and ever has been, an advancement in medium, and as such belongs to the realm of fine art!
Equally art reflects life, new generations of artists are moving beyond "traditional" media into the digital and mixed-media realm. With this alter, the notion that "art" can not stretch to encompass art done in a different way, or for a different purpose, increasingly becomes an archaic viewpoint.
What about reproductions, or graphic blueprint?
Graphic arts have traditionally been deemed a step-sis to fine arts because they are easily reproducible, are consumer oriented, and are often created past hired workers while the artist remains distant and uninvolved.
But wouldn't this viewpoint deny what Warhol did in the 60's? Underlying his intent was the celebration of objects not previously plant worthy.
Reproducing images in silkscreen was Warhol's way—and now our generation can reproduce art in ways Warhol never dreamed of. Information technology's the logical next pace of Warhol's commentary on the globe of art.
Fine art purists think that reproduction in whatsoever style distorts the original. (Ironically, the original Mona Lisa can non even be viewed with naked eyes, yet 95% of the planet is familiar with it by reproduction—and it's still considered fine art.)
Purists also claim that even the best reproductions offer a diluted loss of complication, scale and texture. Even with advancements in printing, that statement is still truthful.
Only how is the original affected when a reproduction is made? The original remains the original and will ever be so.
Art boundaries are always evolving, and information technology is of import to remember that fifty-fifty the decorative arts of the 1930'southward (which were one time termed "kitsch") are now museum pieces of the Art Deco movement.
With a new earth of technological options and endless ways to limited ourselves, it is my conventionalities that the sometime, outdated idea of fine art (which suggest that simply "traditional" fine art is worthy) misses the creative person'southward mission completely.
Yes, a graphic creative person may have his or her work reproduced in magazines, billboards, screen savers and the like, but what remains original is the first intent of the artist: to create an astonishing sensory experience.
Isn't that artistic intent—found in the heart, mind and soul of the artist—the "fine" function of fine art?
If it isn't, then what is?
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Source: https://emptyeasel.com/2008/10/23/what-is-fine-arttraditional-art-only-or-digital-art-too/
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