What if we rejected the metaphysics of art – the philosophy that values or devalues it? And if we approach art through a perspective of critical, objective and rational thinking? Many artists, theorists and managers of the art world may be offended by this perspective. But let's try this rational and objective approach. Let us reject the opinion of the subjective preferences of each person with or without knowledge of art.
Let us look at it from the beginning.
Hunting scenes painted on Rocks maybe the earliest form of painting in history of mankind recording the survival strategy of prehistoric man. Out of the box thinking of creative minds have resulted in many objects of utility in this world, through science as well as art. Then happened the Renaissance (14th and 16th century) or the "century of lights", when Leonardo Da Vinci and Michelangelo presented realistic masterpieces depicting figures from Greco/Roman mythology steeped in spirituality. Art has never been more elevated and rigorous than in this historical movement.
However, the deformation of art follows through the subjectivity of artists resulting in contemporary avant-gardes between the 19th and 20th century. Entered Duchamp's DADA and conceptual art as well as installation art. Concept occupied center stage. Technique receded into backseat.Perhaps it is the ultimate exponent of metaphysics and absurdity. In the philosophical level,the 20th century is the century of Existentialism and eclectic contemporary thought (of which critical thinking, mythological thought and religious thought were the main elements).
The 20th century was the century of world wars, destruction, and renewal. Without these wars in the European and American context, it would be impossible for the artistic styles such as abstract expressionism and informalism to evolve, leading to neo-expressionism and neo-plasticism. It was the perfect platform of social and philosophical values that created what we call Contemporary Art.
In this new framework, experiences and subjectivity create and present the object of art. So, anything can be presented as art regardless of technique, concept or style. It is extremely difficult therefore to evaluate what is a "true work of art". However, there are artistic social agents with knowledge and experience so that they can select "good art" and "bad art" – a task that can be quite arduous and ungrateful. If we see the social environment as a mechanism, we understand that this mechanism works through Marx's capital and in the field of sociology and social psychology of the masses.
This was the introduction to the chronicle that I will now point out.
In the 21st century we live in the world of digital social networks. We are at this very moment entering the digital domain with networks such as Facebook, Instagram, Twitter among others. An astounding amount of information is being continually pumped in by millions of people in these networks. Never has art been as "volatile" and "futile" as it does in these networks where the "appreciation" of the artistic object can be measured by the number of "likes" or "followers" on these pages. It is the fashion of digital "narcissism," self-admiration, vanity and emptiness. It is the society of the spectacle of Lipovetski (The Age of The Void). An unprecedented explosion in the number of followers of the abstract expressionism is happening these days in social media. Countless "Pollockians" or "pouring maestros" present their "artistic" or "biological works" in which the observer is often puzzled about what to appreciate. It's certainly a marketing move with a high number of network views. But, is there such an artistic target audience? Every artist wishes in a certain way to be valued and his valuation happens internally (through himself) or externally (through other social agents).
Nowadays, it is difficult to create "new" art. Digital tools/programs allow you to offer another perspective of art, such as digital painting (and can be created through image editing programs like the well-known Photoshop). The Need may be another perspective of art in terms of meeting the needs of the artist, client, as well as gallery owners/curator/artistic agent.
We must, therefore, be careful to pick out the original and scrap the remaining majority of art resembling the output of a production line. It is not hard to see the copy of a copy differing only in serial number (if this number exists). And for this what matters is the subjectivity of the human factor of the artist. Skill, knowledge, life experience, affections, and ideas.
The Artists should be able to express themselves effectively through their Work of Art. And in turn, the artistic social environment possesses the ability to recognize the artists through an objective and subjective evaluation of their work.
Art is a product of society and presents itself to this same society. But this frenzy of display of artistic prowess is turning social media into a self-defeating platform!
João Pedro Marques is a visual artist and master's student in clinical and health psychology.
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