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ABSTRACT V. CONTEMPORARY ART
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Introduction
Harris Millet was a critic in the previous century, well known for a dislike in contemporary art. He especially frowns upon modern art due to its reliance on politics for its existence. Modern-day art typically communicates a political message. Instead, the critic prefers abstract artists. He especially claims that Jackson Pollock is the greatest artist of all time. His exclusive abstractness renders him transcendent over the actuality of other artists in his day (Crowther and Wünsche 2012).
Thesis
Art has seen a transition over time, from where it has taken on concrete forms, other than the abstractness that once defined it. Art has taken on some more solid approaches in the manner by which it represents concepts. More so, it has become a political tool, aimed at garnering people’s opinion on an affair and influencing individual thoughts. In as much as this trend has become a norm in the present day, it was not always like this. Abstract art ruled in the past centuries (Stewart 2015). Artists at the time were more driven through the inner workings of their artistic selves, as opposed to the constant yearning for social recognition present today. Art in contemporary times reflects the surrounding, more than it reflects the inner self of the artist (LÉVY 2013).
Interests
The externalization of art is a turn-off, for people like Millet. He is against the idea of accurate representation of worldly phenomenon on art. Such art lacks a personal touch of originality. As in the case of abstract art, the artist is known to depict ideas and representations as they occur in their mind. It stems from a free and unprecedented flow of ideas and artistic tendencies in a manner that allows for random creations, which otherwise reflect the ingenuity and sovereignty of the creator. According to Millet, contemporary art alters the meaning of the discipline altogether (Kamhi 2012). As for this case, the artist uses art to propagate a political message. That way, the essence of the art is clouded by that of the message. Inconsistencies between the two lessen the art’s impact. Not only that, Harris Millet disregards this form of art altogether.
Type of Art the Critic Likes
The critic is highly intrigued by the works of Jackson Pollock, an abstract artist. At one point, Millet held that Pollock was the best artist in the world. The exclusivity observed with this artist in his work of abstraction is unseen in any other. Abstract act, like Pollocks, seems to transcend the bounds of space and time. It does not belong anywhere. Moreover, it cannot be described as anything, but it is definitely not anything (Herman 2016). Millet’s principles are applied to date, in the categorization of artworks. These set of beliefs depict a clear picture between the two. In a way, the two styles are utterly unrecognizable. The two types of art represent concepts that surpass them. More so, they render the scope through which one analyses works of art.
Frame of Ideas
Millet’s ideologies stem from his personality and other inclinations. People living in contemporary times are less likely to agree with his thoughts. He will easily forego modern work for past works of abstraction. In as much as abstract art is borne from free will and creativity, it lacks a personality. Its abstractness makes it impossible to determine the kind of a person the artist is, simply by taking a look at their work. Such is a problem for many scholars, seeking to study the significance of historical and contemporary art, and the essence of their variations. Millet is representative of artistry during his time. He is the ideal study element when seeking to uncover what art meant to people in the past, as to what it means now. During this time, artists were esteemed professions, and so were their collections.
Artist and Art
Lee Frantepo is the artist I chose for this research paper. She is a photo-realist and derives motivation from the political field. She is mainly concerned with global warming and attempts to prove to the world how this issue affects everyone. She seeks to raise awareness to all humans, on this menace that threatens their existence. The art is known as ‘Tear Down the Smokestacks’. The realistic photo entails smoke stacks in use. This picture is supposed to contribute to the overall notion of global warming, and further her intent. Created in 2004, it is evident why the art reflects actual issues to this extent. It is in the twenty-first century that environmental awareness on such facets as pollution has come to light. Consequently, such matters end up attracting the public’s attention, which then actualized them in forms that they are conversant with, such as art (Horne 2010).
Critics’ Perspectives
Millet does not approve of work such as Lee’s. Even though he did not come across the artist’s work since he existed before the artist was born, his views would have been the same for Lee, as they are for non-abstract artists. The artist herself labelled her work “an anti-abstract political manifesto”. Therefore, Millet would find trouble accepting it as a worthy creation for two good reasons. One, non-abstractness in art. Through his notion of ideal artists, it is clear that the critic has little concern for artists who create detailed works. Branding the piece of art seems delimiting for the critic; hence, his inclination towards abstract works of art.
Artist’s styles and interests
Second, “Tear Down the Smokestacks” involves a political agenda. The intent would have rendered the work unappealing to Millet. The artist seeks to propagate her political message through the art. In so doing, she makes her work inappropriate, as far as Millet is concerned. Millet made know, his disregard for political connotations in a piece of art. As such, he found it repelling. The critic does not approve of the recent trend of politicizing art. One could interpret it to mean that, he sees the two fields as independent of one another, that combining them cancels out their capabilities. It could be the reason the critic prefers that either area remains by itself.
Evidence from Artwork
In contemporary times, topics such as global warming and pollution have become prevalent. Since artists often infer from their environment, it could be understood why the Frantepo would choose to create art about a contemporary topic. Also, making her art non-abstract is also influenced by the times she lives in since it is the most widespread form of artwork. The artist is only responding to the bounds her timeline has placed on her. Societal underpinnings are a growing influence on artistic creations, as seen through the art, about the external environment. The smokestacks, for instance, show the situation in the world at the time. Externalization of art is also prevalent in contemporary times. This philosophy outweighs that of abstraction of art. Hence, artists in modern times are more inclined to create art that is reflective of the times in which they live. In this case, times where externalization of art if a usual scenario.
Bibliography
Crowther, Paul and Isabel Wünsche. 2012. Meanings Of Abstract Art. 1st ed. Routledge.
Herman, William R. 2016. "Photographic Naturalism And Abstract Art". College Art Journal 19 (3): 231. Accessed November 15. doi:10.2307/773957.
Horne, Luz. 2010. "A Portrait Of The Present: Sergio Chejfec’S Photographic Realism". Hispanic Review 78 (2): 229-250. doi:10.1353/hir.0.0112.
Kamhi, Michelle. 2012. "Understanding Contemporary Art (Aristos, August 2012)". Aristos.Org. http://www.aristos.org/aris-12/contemporaryart.htm.
LÉVY, Bernard-Henri. 2013. "Why Contemporary Art Matters Now". The Daily Beast. http://www.thedailybeast.com/articles/2013/06/16/why-contemporary-art-matters- now.html.
Stewart, Debora. 2015. Abstract art painting: expressions in mixed media.
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