There are praises and praises to art, and there are also different comments and criticisms and their own perceptions. The value or existence of art lies in people's judgment, which ultimately boils down to good and bad. This is the confirmation of people's own existence of art and culture. From generation to generation, the judgments are different and will not be the same.

beauty is in the world, beauty is in the world, and it never stops. The context in which the exhibition art stays in the world is always the best!

that's all. comments are welcome. thank you.

thanks for the net picture, old man's brother Wen.

how does contemporary art prove itself in a broad cultural context? Perhaps it can be understood as "how can contemporary art prove its cultural value?" Even if art is expressing the artist's thoughts and reflecting the corresponding social phenomena, art cannot be separated from the "soil" of culture. Is contemporary art catering to the aesthetics of the times, or is the times accommodating the development of art?

Let's take Chinese painting as an example. So far, how many people still think that Chinese painting has a strong cultural background? It is estimated that there are not many people. Most people are worried about the future of Chinese painting, so that almost no one dares to claim to be a "master of Chinese painting" and "there is no master after Qi Baishi". This is a fact. Contemporary Chinese painting has been innovating, but it has lost the traditional cultural heritage. As for who lost it, it doesn't matter.

Let's talk about oil painting, originally in China. It's equivalent to learning western oil painting. Naturally, western oil painting is a teacher. Western oil painting has always paid attention to realism and regarded sketch as the basis of oil painting. The so-called basis is very important, like the "lifeline bone" of oil painting, which is why western oil painting has always been unique in the world.

However, contemporary China oil painting has boldly adopted the so-called "combination of Chinese and Western". Everything is told by facts, and the art market is a mirror, which only cares about artists who create sincerely, not people who shine in the mirror.

Although art has no national boundaries, it can be diversified, but this does not mean that "art can have two cultures at the same time", just like a man in a suit wears a pair of sports shoes. Is this beautiful? Therefore, if contemporary art wants to prove itself in a broad cultural context, it can only talk about innovation on the basis of inheriting its own cultural background, and the commercial value of art should be restrained and restrained. Art is a life nature, not a commercial nature.

When it comes to contemporary art, I believe that only mysterious words such as obscure, absurd, puzzling and unintelligible emerge in many people's minds. However, art is not like this, and contemporary art should not be like this.

1. Great changes in art

If 196 is the boundary, in the nearly hundred years before that, western art was a modern art with paintings and sculptures as the main line from MANET to abstract expressionism. Art in this period is the embodiment of capitalist modern industrialization. Its main feature is that art is distinct from popular culture, emphasizing the creation of artistic language such as composition, color, texture, brushwork, modeling and materials. Compared with traditional art, the expression is more personal.

since the 196s, influenced by the post-industrialization of capitalism, two world wars and the cold war, the art world, led by Dada Movement and Duchamp's Spring in 1917, has witnessed new artistic phenomena such as pop art, accidental art and conceptual art.. Art has undergone a fundamental turning point from concept to form, that is, postmodern art has appeared under the banner of criticizing and questioning tradition and reality.

Contemporary art started with the end of the Cold War in 1989 and the beginning of globalization and informatization. However, contemporary art and post-modern art still have many similar features in art media and technical form, and more emphasis is placed on the expression of language and social features in the art era, such as more emphasis on global thinking and universal values. Moreover, it has joined the cross-border and reconstruction of media more, and is better at using high-tech and new media technologies.

But what we need to know is that modern art, post-modern art and contemporary art are all overlapping and cross-developing, not separated by cracks, so there will be a phenomenon of generalized generation among them. However, contemporary art is closely related to post-modern art, but fundamentally speaking, the basic principles of contemporary art and modern art have been opposed from generation to generation, and the form is no longer limited to traditional painting and sculpture, and the purpose is no longer to pursue artistic quality and aesthetic taste. Those criteria that are usually related to art, such as visual feeling and artistic skills, are no longer applicable to contemporary art. Instead, there is a tendency to emphasize ideas, oppose artistic and aesthetic experience, and confuse the boundaries between art and life.

Second, the metaphysics of contemporary artists

Apart from the lagging impression of the human brain on art, the acquisition of the answer to the question of distinguishing art from non-art has nothing to do with vision, because vision has been replaced by ideas and theories.

This can explain a philosophical question raised from within art, that is, why andy warhol's Brillo box is art, but the same box in the supermarket is not. Here, the eye can no longer determine the answer to this question, and it is almost worthless in distinguishing art from non-art. What it needs is some kind of theory. The premise that works like Brillo's Box can be regarded as art is that the art world must be full of theoretical atmosphere.

With regard to the philosophical tendency in art, Danto, a contemporary art philosopher who once put forward the proposition of "the end of art", concluded: "When the 196s passed, I felt that these (art) movements on stage became more and more philosophical in nature ... Unless you read the text, you can hardly get anything from this kind of art. In this kind of thing, all things related to visual interest no longer exist. People can think that the object can be cancelled at all, just leave the text. " "Art no longer needs to be done by people with special talents' artists', and it doesn't need special skills. Then, following Danto's thinking, we can say that in order to express ideas, art can be presented in various forms, which can be printed matter, buildings, waste or even empty. Because it has nothing to do with vision, there is no need for artistic talent and skill. Completely attributed to text and concept. Therefore, the author can't help asking why art has nothing to do with vision but talks about ideas, so why not directly resort to philosophy?

Many people criticize that the form of contemporary art is greater than the content, and think that their works simply cannot show the philosophy and ideas to be conveyed. But the fact is that the content that the artist wants to convey is beyond the bearing capacity of art form, and the choice of form simply cannot match its content. This makes the works of art seem to have only form on the surface, but not content.

Third, the nonsense of contemporary artists and critics

When the visual effect, artistic talent and skills of artistic works are completely replaced by philosophical thinking, our eyes are poor in finding "artistic" things there, because in fact, just like the emperor's new clothes, there is no "artistic" to see. Just when we don't know what angle to appreciate such a work and want to turn to its related texts, a strong sense of humiliation and confusion from top to bottom comes on us, and even we can no longer afford to be interested in art. The culprit is the arrogant, grandiose and obscure articles written by artists and critics in the introduction of exhibitions and the text boards of galleries.

"I once interviewed a talented artist, and they all got due respect for their wisdom, vision and the beauty of their works. But when the microphone is put to the artist's mouth, all the clarity disappears. This situation is not uncommon at all: after listening to clauses, qualitative descriptions and irrelevant metaphors for half an hour, I found that I didn't go any further than understanding an artist's work. In fact, I went further. " As Will Gomez said in "15 Years of Modern Art". When writing texts, those practitioners of contemporary art often try to mystify and create academic vocabulary mechanically, which makes many questions about contemporary art more confusing and vague, which in turn leads to the public's increasingly puzzled and disgusted with contemporary art, and almost no interest in reading contemporary art texts, even instinctively contradicting and rejecting them. This is ultimately due to the phenomenon of "lack of works" in contemporary art. Because of the lack of skills and paradigms, "hermeneutics" and "philology" have flourished. Concept replaces visual and aesthetic forms, and the distinction between old and new replaces aesthetic value judgment. Therefore, mystifying can only become a common gesture for artists to describe their works.

Of course, readers' knowledge reserve and cognitive system also play an important role in understanding works of art and related texts. However, the work of strengthening readers' cognition still needs the text writing and explanation of art-related practitioners in the end. Therefore, if we want to avoid a vicious circle, contemporary artists must face up to art, coordinate the relationship between form and content, pay more attention to the universal value of art, and avoid being innovative for the sake of innovation and art for the sake of art.

IV. Where does contemporary art go?

In the 21st century, with the rapid development of science and technology, western artists, philosophers and ecologists have begun to reflect on the harm that the progress of science and technology has brought to human beings and nature from all angles, and art has also begun to reflect on and re-recognize nature and human society, and to a certain extent, has assumed the responsibility of saving nature and society. At present, artists all over the world are facing the biggest problem, which causes them to create new art from the perspectives of religion, philosophy, aesthetics, psychology, sociology and so on, so as to express the universal values of contemporary human society, which may be the real contemporary art. Contemporary art is still on the road, and its future is unpredictable. The only thing that can be concluded is that it will continue to advance and update with the passage of time and the continuation of mankind.

Contemporary art is a very open concept, and various art forms are surging and a hundred flowers are blooming, which to a certain extent has caused a great impact on the traditional concept of art, and it is not only confined to the traditional fixed mode, but this ongoing experimental and pioneering art sometimes even passes without a trace.

He Jiaying's works

In such an artistic ecological circle, the traditional art forms popular with the public, old trees and new flowers, the blending of various heterogeneous civilizations and cultures, and the iteration of new technologies have given them new vitality and vitality. For example, Chinese painting draws lessons from mature techniques such as perspective of western oil painting to make its expressive force closer to the contemporary aesthetic context, while western oil painting also innovates new expression methods on the basis of oriental aesthetic experience. What's more, some time ago, the works created by artificial intelligence entered the auction house for the first time and won a good price. However, the British graffiti artist Banks made the damaged paintings change their names and reborn magnificently by means of self-destruction, and even the market is estimated to exceed the price before they were destroyed.

Behind the dazzling works of Hockney: A Life In Pictures, the most expensive contemporary artist, the godfather of English art, contemporary art has more room for activities in a broad cultural context, thus it has more judgment latitude in confirming its own value, and its cultural value attribute has more comprehensive characteristics. Sometimes it's the vibration of the inner concept, and sometimes it's the * * * sound of the external perception. Moreover, driven by business ethics, this cultural value is involuntarily not transferred by the artist's own will, and it is labeled as all kinds of bravado. The artist's deliberate active resistance is also futile or even counterproductive. For example, Banks' self-destructive painting is such a typical example.

Comparison of Banks' Self-destructed Works

The first artificial intelligence painting in history sold for 3 million yuan, and its signature was a mathematical equation.

such an extreme case also shows from the side that contemporary art is in a dilemma of confirming its own value to a certain extent, vacillating between internal concept and external perception, but at present, concept is ultimately greater than perception. Irreproducible contingency itself has also become a part of art, and the incredible paradoxical anti-art behavior, by default, endows contemporary art with an alternative value of being biased. It is really a long story, and even makes people exhausted. However, in the end, contemporary art still needs more time to confirm its final historical position.

The atmosphere of contemporary culture is diverse, various ideologies are in unity of opposites, various traditional cultural boundaries are broken, there is no absolute judgment standard, the original direction is lost, and different ideas and puzzles need to be conveyed. These artists are pioneers of thought from the perspective of the times. "Many of the works in the Triennial are conceptual and experimental, and the topics involved are avant-garde and sharp, the angles are experimental and spicy, and the methods are modern and obscure. In addition, most of the works selected by the curator are not for accommodating or considering whether the ordinary audience can" understand ",but for returning' art' to the artist." (2) their works are high and low, and they are not understood. Is it because we can't understand them or the author himself may not understand them? They are confused, but because of this, they raised confusion, raised questions and asked questions. We need art, besides the aesthetic demand, we also need more artists to express these problems in this way with delicate touch

1. Analysis of problems

I was asked how contemporary art can confirm itself in a broad cultural context.

This is indeed a very sharp and critical issue. The so-called "contemporary art" focuses on the comparison with the forms that art once had in history, while the so-called "broad cultural context" is aimed at the diversified integration of culture today when authority and orthodoxy are not playing a leading role.

from these two scales, we can demonstrate this.

two time scales of art

as mentioned above, the time scales of cultural context can be roughly divided into two types, one is past history, and the other is present and present.

These are two time scales in cultural context. In these two time scales, there are two ways of existence, one is horizontal, that is, focusing on a specific era and investigating in the same period, while the other is to look at its transformation and inheritance in a vertical history.

what do you mean? For example, it is very clear.

For example, as far as calligraphy culture and art are concerned, these two time scales are a basis for us to divide calligraphy into the historical tradition of ancient calligraphy and the present situation of calligraphy. In these two time scales, there are some specific forms of calligraphy in a certain period, such as calligraphy in Tang Dynasty and calligraphy in Song Dynasty, which is a horizontal comparison. The vertical direction is to look at the development and reform of calligraphy on a large historical scale, such as the evolution of calligraphy in Tang, Song, Yuan, Ming and Qing Dynasties.

it is very important for us to understand this problem.

Third, two spatial scales of art

Spatial scale refers to the existence of art in space. Judging from the historical inheritance on the time scale, art is great.