Why Modern Art "Sucks"

Why Modern Art "Sucks"

Hint: It's not necessarily the art's fault.

Let’s do a little experiment.

Below this paragraph is a work of modern art. Now, without doing any research and without knowing anything else about the work, do a formal analysis this painting. (For those of you who are in the know, pretend that you don’t know anything about the context of modern art.)

Robert Rauschenberg’s White Painting (1951)

There’s not really a whole lot to say, is there? These are, for all intents and purposes, three blank canvases hung on the wall and that seems to be about it.

Now, let’s take a look at some critical commentary on Rauschenberg’s work. According to John Milton Cage Jr., "the work is made up of “hypersensitive screens” which react to environmental changes in the room so as to “lead to the possibility of pure experience." The work is a rejection of substance, instead embracing a quasi-postmodern reflexivity. Or, at least, so the art community claims.

Nope, it still just looks like blank canvas.

We have a problem here or, rather, the art community has a problem. Here’s a work of art which has, when explained, rich meaning, but it makes itself impossible for formalistic analysis. There is, quite literally, nothing here to analyze. You can’t talk about the line-work, coloring, or even about a nonrepresentational reflection of the artist (a la Jackson Pollock). There is simply nothing there.

Barnett Newman’s Onement VI (1953).

Without formalistic analysis, art must be understood via contextual means. In other words, we have to look at art as it falls within the tradition of art as a whole. “How does this work contribute to the progression of art?” Consider Duchamp’s Fountain, created in 1917.

Yes, before you ask, it is just a urinal.

See, Duchamp was clever. At this point in time, art was still seen as something that had to take a great deal of skill and had to be aesthetically pleasing. With this sculpture Duchamp turned the art world on its head and everyone knew about it. That last part is important, because it’s at the heart of what makes contemporary “modern art” so frustrating.

In any other medium, context is not required to analyze and appreciate a work. Rather, context offers the opportunity for deeper and more critical analysis. So why should visual art be treated differently from its other artistic counterparts?

Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living (1991).

My concern isn’t that these works have meaning. In fact, my concern is quite the opposite. My concern is that by pulling on tradition that is outside of public discourse, the modern art community is turning art meaningless. When an intelligent person walks into a museum and says, “I don’t get it,” it represents the failure of discourse between the art community and the outside world.

Visual art is, fundamentally, a communicative medium. Although it is less direct than its literary and cinematic counterparts, visual art retains every bit as much power (and, depending on you ask, quite a bit more) to convey complex emotions, ideas, and concepts. Therefore, when even knowledgeable viewers are unable to find meaning from the content alone or are unable to pull from the incredibly niche knowledge required to appreciate a work, public discourse (and, consequently, modern art) has failed.

Ai Weiwei’s Han Jar Overpainted with Coca-Cola Logo (1995).

Now, that’s not to say that all modern artists are disengaged from public discourse. On a strictly personal level, some of the artists who I find to be the most impressive are wrapped up in public involvement. The Chinese artist and political activist Ai Weiwei is largely reliant upon his mass-media image for his success and, as a result, very little doubt and confusion surrounds his works. Others, like Barbara Krueger, pull less from art culture “in-jokes” and more from popular culture.

But these artists don’t change the overwhelming trend that is members of the art community being out of touch with the rest of the world. The failure of modern art is not one of aesthetic, but of conversation. If people cannot understand art, then the problem is one of engaging the public.

I’m not saying that the art aficionados out there can’t appreciate the occasional urinal or ultra-reflexive blank canvas. I’m just suggesting that perhaps it's time to quit impressing the critics with impressive intertextual allusions and time to start catching the public up on the last century of art and art theory.

Cover Image Credit: Jackson Pollock

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How to succeed in relationships in ones’ lives by addressing karma. 

Every relationships in this life manifests from past lives. There is always some connection between you and the other person from past lives

There are no coincidences in meeting someone in this life. This is usually someone you use to know or you had connections from the past lives. 

Sometimes the relationships are good, sometimes they are not. These are karmic controlled. Every action, every thoughts and behaviour is the effect of your karmic planets. 

How you treat other people in your life, how other people treat you and how your relationships succeed or not depends on your actions in past lives. These are carried forward in this life as your karmic planets. 

The prime example of how planets affect you is moon. When there is full moon it affects lot of people. These people who are affected have mainly moon as malefic planet in their astrological charts. In same way when their relationship corner is weak due to malefic Venus it affects their relationships. I believe that every person connected in past lives will somehow have impact in your life in this life. 

You can reduce the malefic effects of these karmic planets by minimising the negative effects. These can be done through karmic remedies. These can make a difference between succeeding or failing in any relationships in your life.  

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Hopeful or Hopeless

What do you hang on in life? Is it someone, something, or some place?

 

Missing

“I love you, or I thought I did”

      You can admire someone, you can love them so deeply they won't be able to understand. But there's a part of you that you can't give to some. That part is negative, the side that destroyed you every night as you lay there helpless in your agony of your nightmares. That side of you is so powerful, you began to let it control you. You allow it to tell yourself that you are not good enough. Some may not be able to handle THAT side of you. The one I may be deeply in love with will never be able to handle my side for I have seen how it destroyed me. I have felt that pain slice through my fiery, blood pumping veins, and exploding in the depths of my heart. 

That pain..I won't let it drown another soul...

      You ever love someone so much you couldn't even know where to begin with this other side of you. There's a sense of them not understanding, a sense of no consideration, or action. You ever just look your loved ones in there eyes, a second of relaxation. THAT side of you is at rest for a brief time. 

       You ever love someone so much it takes everything to fight the demon within you to hide a little longer. Thickening your wall will only last some time, while you wait why not have some lust join. Our timing is bad, we are nowhere perfection. People are in love and not together, and many people are together and not in love. 

       All we do in life is look for someone to love and be loved. How hard can that be…I’ll tell you. I had hope for us-for him. I thought he would miss me as much as I missed him. I thought he was going to realize how good of a young women I am, and want that back. Want ME, not my body, but my heart. At the end, I knew we were an end, but I had hope. Even if I kept the dark side of me hidden, you admired the bright side and that helped the dark side to dissipate. Now-that is all that’s left. I loved you, admired you far more to fall in love with your dark side to forget about mine. As you walked out, you took the light with you. I thought you were going to give it back because it was never yours, but I gave it to you.

        I learned to admire at a distance. I’ll admit that I hate that you moved on, but I’m happy that your happy. That’s all I ever wanted for you...Even if I wanted you. I wanted every part of you, not of lust, but a future together full of healthy growth. I miss that because I had hope. Hope for a better life. Hope that someone could admire me for who I am and not what others think I am. 

I had hope, but I don’t know what that is anymore.

Cassandra Reynolds

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