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Post Modern aRTISTS

Post Modern aRTISTS The realm of postmodern art encompasses various aspects of contemporary styles. There is no set format to creating artwork anymore. Art pieces in the past basically conformed to the Kantian-Hegelian theory of art. Thomas McEvilley claim, “It was essentially an aesthetic theory of art, which held Beauty is a universal force that enters the soul with immediate, unquestionable authority at the instant when the soul approaches the beautiful object with openness to it” (qtd. in Weintraub 245). Beauty became an inborn characteristic of art. Pieces of artwork inevitably possessed the quality of beauty, seeking to inspire and touch the soul with powerful, aesthetically pleasing images. As time continued a change was to be anticipated. McEvilley further explains “The Hegelian element, added about a generation later n the early Romantic period, emphasized the idea of History as a dynamic force, with the conviction that change was a historically necessity leading towards progress” (qtd. in Weintraub 254). The advancement of psychology caused a change in attitude concerning art. Psychology leads to the acknowledgement of problems and struggles to repair them. Around the early 1960’s “Pop art, Body art, and other newly named tendencies were the beginning of the phase known as post~Moderism” (qtd. in Weintraub 256). Beauty no longer serves as an inspirational force driving the artist to create a soul touching piece. Instead the search to point out a problem and attempt to remedy it spurs the contemporary artist. The loss of beauty as an inspiration causes the postmodern artists to strive to point out problems, create awareness, and give a possible solution. The very word nature, conjures images of picturesque lakes, mountains, and ocean scenes. The truth is that most of the world is and has been sacrificed for the development of buildings, to suite our comfort influenced lifestyle. Nature is polluted due to human development. Mel Chin, contemporary artist, attempts to heal the earth through his artwork. Chin explains his artwork as a, “plausible method of leaching heavy metals out of tainted soil, safely trapping the toxins in the vascular structure of the plant and mining ash (after proper incineration) to provide a beneficial and economic potential” (qtd. in Weintraub 46). “Revival Field" is a piece of artwork that purifies polluted earth by using plants which trap the chemicals in their roots. Author Linda Wentraub claims, “he invents strategies for solving real-life problems” (47). “Revival Field” offers a successful integration of science and art by solving the problem of toxic land and also demonstrating the use of new mediums such earth as source of art. Mel Chin is a prime example of the contemporary artist at work. He goes beyond merely recognizing the problem of pollution but also acts to solve it. He forces the audience to ask themselves what can be done about pollution? The solutions can be as complex as his system of “Revival Field” or as simple as recycling waste products. Another problem in society is a lack of faith. The New Testament teaches us that Jesus Christ was crucified. He suffered betrayal and torment. Society no longer directly relates with this image of Christ. It has become somewhat overexposed. Andres Serrano attempts to reinstate the lost faith and sympathy for Christ’s sacrifice for us. Through the photograph “Piss Christ” he calls his audience to see the shame and contempt Christ felt. “Piss Christ” is a photograph of Christ in the crucifix, enclosed in a warm, glowing, yellow light. To capture this light Serrano submerged a plastic crucifix in a jar of his own urine. He thus challenges the Catholic Church concerning their attitude to their own bodies. While people may consider this offensive Serrano replies “Crucifixion is a very ugly and painful way to die, but we see the crucifix as a very aestheticized object that has lost it’s meaning. So I think about the people who have been upset by the photograph: how would they react to a real crucifix” (qtd. in Weintraub 163). While faith for whole society cannot be restored by one photograph, overtime artwork can eventually increase the awareness. Andres Serrano is making progress and helping to reestablish the belief in Christ suffering for the world. This demonstrates his ability of as postmodern artists to ask the question where has our faith gone and can it be reinstated? Art has been traditionally based on beauty. What person can claim that they are not moved by the overall power of such classic works as Michangelo’s “David” or da Vinci’s “Mona Lisa”? From the prominent art critic to the everyday observer beautiful art has a place in society. Art can be displayed as decoration, but is not limited to being a luxury. The value of art can be purely to decorate a wall in a house or confined to a museum. It does not necessarily have evoked a change or a call to action as these postmodern pieces do. But aesthetics cannot be considered the only form of expression. There is a need for contemporary art. It is more than for attention or profit which compels contemporary artists to create moving pieces. Christian Boltanski claims “the functions of the artist is not to transmit news or information, but rather to ask questions, postulate problems, or posit situations” (qtd. in Weintraub 154). It is needed to increase awareness and suggest solutions to some problems. It is in the post-modern movement that art is seen as no longer fitting the beauty inspired mold. Mel Chin, through his earthworks, and especially “Revival Field”, acknowledges human influence on polluting the earth. He also creates a situation, which solves the problem, and creates a work of art simultaneously. Andres Serrano seeks to awaken the values of faith and empathy in the Catholic religion. “Piss Christ” demonstrates the shocking but thought changing power of a contemporary artist. On a whole, art no longer is made on behalf of beauty. Beauty is simply an idea which is subject to change from various perspectives. As Thomas McEvilley claims “Among the major changes of the period in question is a loss of faith in the idea of beauty as a spiritual, universal, and, consequently, a change in the idea of the role of the artist. The artist actually became to be that destroyer of the idea of beauty” (qtd. Weintraub 258). The postmodern artists is asking the needed questions and creating the required answers with the attempt to educate and better the lives of all who care to notice. Bibliography: Works Cited Weintraub, Linda. Art on the Edge and Over. Lithfield, CT: Art Insights, Inc. 1998.

Word Count: 1091