By Maria Skupińska, graphic by Sonia Bajorek
The emergence of the contemporary movement has irrevocably upended the long- established perception of artistic value. Breaking away from the traditional objectives and aesthetic standards, it often challenges the viewer’s perception and expectations of the artistic output. The movement is largely shaped by bold, thought- provoking works by artists who prioritise conceptual communication over meticulous imitation of material reality. However, this approach is often deemed profoundly absurd, particularly outside of the specialist’s environment. As a result, conceptual and contemporary art tends to be met with the disapproval of the general audience who perceive the movement as elitist, alienating and utterly pretentious.
To understand the controversies surrounding this movement, it is essential to place it within the broader historical context. For centuries, the primary purpose and condition of admiration of an art piece was measured in its ability to depict reality. This approach came to prominence during the Renaissance period, which was defined by the mastery and flawless technical skill set of artists such as Michaelangelo and Leonardo da Vinci. The establishment of precise artistic frameworks was further endorsed within the academic environment in the 18th and 19th century, which imposed a plethora of principles upon the emerging art movements, especially pleading in favour of the realistic convention.
The process of partial eradication of traditional norms began upon the emergence of modernism. One of the first artists to radically oppose the conventional approach was Marcel Duchamp, the author of Fountain; a readymade sculpture composed of a ceramic urinal signed with a pseudonym. According to Duchamp, it was a manifestation of artistic values derived from everyday objects with the might and choice of the artist. The conceptuality and provocative nature of this project laid a foundation for the objective of prioritising the message over aesthetic appeal; a crucial aspect of the present contemporary art movement, as well as the primary point for its criticism.
The aforementioned foregoing of visual appeal in favour of extensive conceptual depth is perhaps the most prominent catalyst of the negative disposition towards this movement. The experimentation on different media, ranging from everyday object to disembodied, volatile sound and lightwork, and endless possibilities for innovative artistic expression was often met with skepticism of the general public. The audience’s affront was targeted primarily towards performance artworks and creators, such as Yoko Ono or Marina Abramović, whose creative output was based on dynamic installations involving actions executed by artists or other participants. The controversial nature and detachment from classical artistry have caused some to degrade the purpose of contemporary art solely to pushing boundaries of shock value rather than creating meaningful work.
The superiority of meaning over artistic execution also adds another point to the criticism. As the fundamental comprehension of contemporary art pieces often surpasses the material creation and is concentrated in the external concept, many people struggle to develop personal connection to a work that should be perceived beyond its visual aspect. This occurrence places the movement behind the illusory barrier of elitism, created by the belief that the meaning is exclusive to those well- versed in art theory. The cynical and pretentious label only amplifies the distance between an artist and the audience, leaving the message adrift in the space between them, unheard and unacknowledged.
Despite withstanding criticism, the contemporary movement plays a crucial role in the artistic manifestation of views and beliefs, often serving as a mean of social or political commentary. The dissociation from immediate visual appeal requires conceptual art to be perceived in the broader context of both cultural dialogue raised upon matters of global significance and an insight to the creator’s mind and life journey.
The innovative artistic mind can tell deeply touching and resonant stories even through the most earthbound objects. Untitled (Portrait of Ross in L.A.) by Felix Gonzalez- Torres is a dynamic installation composed of a pile of individually wrapped, colorful candy. Despite the initial impression of triviality and insignificance, the piece is a deeply personal statement- it represents Torres’s partner, Ross Laycock, who died from AIDS related complications. The initial weight of the sculpture is 175lbs (79kg), which symbolises Ross’s healthy body weight. During the course of the exhibition, each viewer is permitted to take a piece of candy, imitating the physical deterioration caused by the disease. The gradual diminishment of the pile mirrors the relentless progression of an illness, ultimately leaving the surrounding space steeped in an overwhelming sense of void and emptiness, powerfully immersing the viewer into the artist’s narrative.
Contemporary art consistently breaks the stigma of traditional artistic expectations, simultaneously redefining the role of art in society and serving as a conduit for the artist’s perspective on pressing global issues. Below the surface- level beauty lies a cornucopia of authentic values and ideas that challenge viewer’s perception, inviting individual interpretations and fostering a deeper engagement with the underlying meaning of contemporary artworks.
Sources:
The Warsaw High School Times 
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