HOW DOES ART COMMUNICATE: CREATIVE APPROACHES AND THE RELEVANCE OF PERSONAL EXPERIENCE
Authors:
Type:
Article
Pages:
from 22
to 27
Status:
Published
Received:
17.12.2016
Accepted:
17.12.2016
Published:
17.12.2016
Language:
Russian
Keywords:
art and communication, post-modernism, semiotics of images, art and intentionality
Abstract (English):
Since the critique of “modernism” in the arts of the 1960s in the West,” “Contemporary Art” has become increasingly borderless for many artists. In this paper I discuss some of my recent paintings, photographs and design projects as expressions of my own personal background and work experience in an attempt to draw attention to qualities of “borderlessness” and “inclusivity” manifest in “Contemporary Art.” Beyond the philosophical and formal characterizations of “Contemporary Art,” “borderlessness” and “inclusivity” in my work and in my life means striving to overcome prejudices in a productively rational manner.
Since the critique of “modernism” in the arts of the 1960s in the West,” “Contemporary Art” has become increasingly borderless for many artists. In this paper I discuss some of my recent paintings, photographs and design projects as expressions of my own personal background and work experience in an attempt to draw attention to qualities of “borderlessness” and “inclusivity” manifest in “Contemporary Art.” Beyond the philosophical and formal characterizations of “Contemporary Art,” “borderlessness” and “inclusivity” in my work and in my life means striving to overcome prejudices in a productively rational manner.
Keywords:
art and communication, post-modernism, semiotics of images, art and intentionality
art and communication, post-modernism, semiotics of images, art and intentionality
As I understand the art world today, “Contemporary Art” is extremely diverse and driven by quite different motives and interests. Since the critique of “modernism” in the arts of the 1960s in the West, “Contemporary Art” has become increasingly borderless for many people, represented by different personal histories, cultural backgrounds, social and political objectives and, most importantly — competing ideas about the “value” of “Art” in the world today.
1. Archer M. (2014) Art Since 1960 (3rd edition). NY: Thames & Hudson.
2. Berger J. (1972) Ways of Seeing. London: Penguin.
