This site uses cookies for learning about our traffic, we store no personal details. ACCEPT COOKIES DECLINE COOKIES What are cookies?
univerge site banner
Review Article | Open Access | Br. J. Arts Humanit., 6(1), 43-48 | doi: 10.34104/bjah.024043048

A Hermeneutical Perspective Towards the Defining Associations of the Term “Contemporary Art”

Fatima Zahra* Mail Img Orcid Img ,
Sophiya Umar Mail Img ,
Syedeh Samaneh Fatemi Mail Img ,
Muhammad Usman

Abstract

The term "contemporary art" in South Asia has several equivalents and connotations. Numerous art historians characterize contemporary art terms from diverse perspectives and historical linkages. However, there is a lack of academic documentation about the accurate essence of contemporary art, especially related to art history. The article, however, focuses on the hermeneutical connotations and perspective of contemporary art especially in South Asia. This research is significant for gaining a comprehensive and precise understanding and identification of the term contemporary art that bridges the gap in academic documentation and further expands its historical context. This qualitative study explores the term contemporary art using a hermeneutical method, that will provide a vast window for interpretation. The research findings offered definitions of contemporary art from an array of perspectives.

INTRODUCTION

The article aims to define the term "contemporary art" in South Asia. This raises the question of how contemporary art could be defined from numerous perspectives. For this reason, this research employed a hermeneutic approach, which provided a wide range of interpretation perspectives. Hermeneutics is the study and application of interpretation, espe-cially as it pertains to the interpretation of writings from religious scripture, philosophy, and cultural lineages (Boell, 2014). Interaction and understand-ding skills can be incorporated into hermeneutics as needed. Moreover, this research uses secondary data and purposive sampling for data accumulation.

Usually, art developed in the second half of the 20th century or the first decade of the 21st century is referred to as contemporary art Meyer, 2013). Tech-nological developments, cultural variety, and global influences all have an impact on the world of mod-ern art (Chilvers, 2009). Their work pushes boun-daries beyond what was previously well-established in the 20th century (modernism and post-moder-nism) by combining a dynamic spectrum of medi-ums, techniques, ideas, and subjects. In another perspective, art historians argued that art created in "our time," which is typically defined as from 1970 to the present, is referred to as contemporary art (Smith, 2010; Zahra, 2021). 

On the other hand, modern art, which was created between 1860-1970, was important because it signalled a worldwide move away from realism and towards abstraction (Meecham, 2013). However, the contemporary art symbolises the worldwide move-ment away from modernism and postmodernism and pushes towards pop art.

The most commonly used definition of contem-porary art states that it includes works of the art produced from 1945 to the present (Julian, 2020). Thus, it can be argued that the primary factor that distinguishes contemporary artworks is the period, regardless of the style, medium (painting, sculpture, photography, printing, drawing), or artistic deve-lopment. Contemporary art originated from modern art, which is a broad term used to cover artwork produced between the 1850s and 1945 (Chilvers, 2009). However, some art historians consider the 1960s to be the founding year of contemporary art due to the emergence of pop art, a radical departure from modernism.

Hermeneutical Interpretation: A Contemporary Art

According to above ementioned definitions of the Contemporary Art and collected data, this art term can also explored and identified through the spec-trum or perspective of subject matters, influences and art style. Normally, it is argued that the artwork produced by living artist is termed as contemporary art, however, in a deeper sence, contemporary art can also be explored through various perspectives.

Subject Matters Perspective

Art created by living artists is often considered contemporary art (Hummelen, 2020). It thus effec-tively conveys the complex issues influencing our multicultural, global, and ever-changing surround-dings. Several contemporary artists try to examine their personal or cultural identities through their work, challenge organisational and social platforms, and reinvent art itself. Having a willingness to learn, being curious, and being dedicated to discussion and debate are the finest approaches to contemporary art. According to scholars, since founding in 1940, the Walker has presented contemporary art in a variety of the formats, including dance, visual art, theater, music, moving images, the architecture, design, new media, and various hybrid forms. These pieces frequently question pre-conceived notions about the nature or appearance of art (Walker, 2023). Contem-porary art is a component of a broader cultural con-versation about bigger contextual frames including nationality, family, community, and cultural and the personal identity.

Influences Perspective

The idea that "contemporary art" is a separate cate-gory of art dates back to the early years of moder-nism in Europe. The critic Roger Fry and colleagues established the Contemporary Art Society in London in 1911 as a private organisation dedicated to pur-chasing artwork for public museums (Nicolson, 1951).  The 1930s saw the founding of several other organisations that would later use the term, inclu-ding Adelaide (Soliman, 2017), Australias Contem-porary Art Society in 1938 and a growing number after 1945. During this time, the modernism was established as a historical art movement and most "modern" art ceased to be "contemporary." As a result, several institutions, such as the Institute of Contemporary Art in Boston (Merkel, 2007), altered their names from ones utilising the term "modern art." Naturally, the notion of what is contemporary is dynamic, rooted in the present yet having a forward-looking start date. Sociologist Nathalie Heinich distinguishes between modern and contemporary art, characterising them as two distinct paradigms with some historical overlap (Heinich, 2012). She dis-covered that "contemporary art" questions the basic idea of an artwork, whereas "modern art" questions representational standards. She views Duchamps Fountain, created during the height of modern arts success in the 1910s, as the catalyst for contem-porary arts rise to prominence following World War II (Heinich, 2014; Mehr and Shahim, 2023). 

Art Styles Perspective

Contemporary art is distinct from modern art. In comparison to earlier times, this eras paintings, sketches, sculptures, and architectural creations were generally more experimental. A work of contem-porary art is one that either relates to the aesthetic practices and designs that communicate ideas or concepts, crosses boundaries between art and what is typically not considered art, or transcends the boundaries of art as modern and classical art under-stand it. Modernism and contemporary art are not synonymous, even though the terms are commonly used interchangeably. Contemporary art is distin-guished from modernism by the fact that many of its practitioners are still active in the field. Modern artists frequently work on major themes like social justice and global crises, and they frequently use art displays to make their thoughts visible to their audi-ence. Art created between the twentieth and twenty-first centuries, spanning a wide range of styles, is referred to as contemporary art. Following the modernist and postmodernist art movements, con-temporary art emerged. 

Significance of Contemporary Art

Aesthetic Values

The aesthetic value of contemporary art is among its most significant benefits. This indicates that there is a chance that the artwork will make the audience feel satisfied. Even though an individuals inter-pretation of what is aesthetically beautiful may differ, there is probably a kind of this type of art that will appeal to everyone because of the vast range of mediums and techniques used (Goldman, 1990). Contemporary artwork has aesthetic value and can be utilised to decorate a wide range of spaces. Art can be found even in outdoor sculpture, where it can be readily viewed by the public and enhance the urban environment. 

Historical Value 

Historical value is just as significant currently as it has ever been. A particular historical moment is captured in art. It is a crucial part of past and recollections. It is also a nuanced expression of a historical school of thought that arose from a certain historical perspective. Consider contemporary art, as one characteristic of the modern age, to be the embodiment of the modernist conviction and con-fidence in development. Last but not least, contem-porary art links our records to the "happenings or events of our history." 

Socio-Cultural Value

Art is culture, one may describe it as a synthesis of cultures. It might also question the direction that culture is developing and establishing. Throughout the postwar era, people experienced a sense of the alienation as they saw the detrimental effects of the capitalism and consumer culture, for the instance. Artists responded to this inclination by creating, for example, these responses are frequently driven by social factors. A better world is the goal of art, especially contemporary art. Because of this, there is a strong link between modern art and social acti-vism.

Political or ideological Value 

From that perspective, contemporary art is extre-mely valuable. Similar to the socio-cultural signifi-cance of art, contemporary art can challenge specific political ideologies. Art is employed as a research technique, raising awareness through its audience and form. Consequently, a state or society re-exa-mines its political status or ideological convictions, leading to a (social) discussion.

Spiritual Value

In art criticism, spirituality and art are frequently a slippery slope. Since the beginning of the human history, there has been spirituality. People yearn for a spiritual moment of reflection or introspection, a transcendent or meditative experience. However, in a demystified and godless worldview, this isnt always straightforward. There has always been a special spiritual dimension to art. 

Personal Expression

The ability to express oneself personally is one of the advantages of contemporary art. Anyone can safely express oneself in a way that others can see through painting, sculpture, and visual and perfor-mance art (Wingert, 1950). Similarly, the viewpoints that are shared, are important to society since they provide a special glimpse into the thoughts and ideas of the artists. 

Socio-Cultural Commentary

The medium of contemporary art permits the artist to remark on society in addition to their expression. This can involve representing their opinions on anything from pop culture to politics, either literally or symbolically. An artist can convey their ideas through narratives or dialogue using shapes, images, and other various media. The audience participates in the artists discourse when they interact with the work. The art form becomes a visual history of life as it makes commentary on the state of pop culture and society today. This is a record that includes the emotions that people felt at the time in addition to the facts, including names and dates. The reason art is the frequently conserved, because it provides a distinct perspective on history that cannot be found alone in historical literature (Stokrocki, 1990). Since contemporary art is a product and a witness of a certain moment and era, it has historical signifi-cance. It gives the ability to identify, understand, and challenge specific sociocultural or ideological/ poli-tical advancements, bringing attention to them, stop-ping the world, and promoting discussion.Art serves as societys blueprint as it monitors the global pulse constantly.

Impact of art on Society

Art is the embodiment of societys collective me-mory. Better than historical fact-based records, artists use expressive media like paintings, sculp-tures, music, literature, and other artistic forms to represent life. Art communicates what it feels like to live in a particular era. For example, in cave pain-tings and petroglyphs, ancient painters portrayed their daily lives. These creative forms brought to life the way it was hundreds of millions of years ago. Art promotes mutual understanding and communi-cation between individuals from diverse cultural backgrounds through narratives, music, and visuals. Creative representations are a common way for people to connect with other nations and cultures (DeMarrais, 2013). Contemporary art is frequently chosen as a medium for social change. For example, murals, paintings, sculptures, plays, films, and the music are all used by governments as propaganda tools to sway public opinion and start awareness campaigns. These kinds of art have a deep effect and are an effective means of influencing public opinion. Moreover, these intrinsic signifi-cances improve peoples lives on a personal level, but they also have a positive public ripple effect because they foster the kind of citizens that are valued in a pluralistic community. These are the relationships that are formed between people when they reflect and talk about their experiences in the arts and when they express their shared values and sense of community via artworks that honour impor-tant moments in the history of a country or people (McCarthy, 2001).

Preservation of the Culture/Image Building of a Country

Protecting a communitys cultural heritage from the outside influences that could damage or modify its objects and practices is necessary to preserve it. Typical examples are collecting folktales, teaching someone how to do an ancient craft, and restoring historic buildings. Cultural legacy is important to communities. It allows people to reflect on their past in a way that shapes who they are today (Mango-ensong, 2020). It also gives the communities fresh opportunities to prosper.

CONCLUSION

As previously stated, the articles focus is on the terms and connotations associated with the term "contemporary art." In light of this, the research developed four distinctive definitions of contem-porary art, particularly in South Asia. The term "contemporary art" is most frequently associated with "updated" art or artwork produced by living artists. However, using historical records and herme-neutic interpretation, it is identified as the art form that emerged following World War II and is linked to works of art produced after 1945. Furthermore, it has been established that contemporary art may be categorised according to its subject matter, with the primary domains falling into three groups: the cultural, social, and political domains. Furthermore, the word "contemporary art" can also be defined by the influences on the artwork, which can be divided into three categories in South Asia: influences from the West, indigenous influences and Mughal mini-atures influences. Since contemporary art is frequ-ently used interchangeably with post-modern and modern art, it can be characterised from the stand-point of art style. Beyond the characteristics that set contemporary art apart, it also lends aesthetic value to the components, enhances and polishes the artists expression, and sketches and presents socio-cultural commentary that helps to preserve a communitys or regions culture while fostering an optimistic view of the country or society in the national and Internat-ional forums.

ACKNOWLEDGEMENT

The authors would like to thank Bahauddin Zakariya University to conduct the research.

CONFLICTS OF INTEREST

There is no conflict of research for this study.

Article References:

  1. Boell, S. K., & Cecez-Kecmanovic, D. (2014). A hermeneutic approach for conducting liter-ature reviews and literature searches. Com-munications of the Association for information Systems, 34(1), 12. https://search.lib.uts.edu.au/discovery/fulldisplay/cdi_proquest_journals_2500527171/61 
  2. Chilvers, I., and Glaves-Smith, J. (2009). A dictionary of modern and contemporary art. Oxford University Press, USA.
  3. DeMarrais, E., & Robb, J. (2013). Art makes society: an introductory visual essay. World Art, 3(1), 3-22.
  4. Goldman, A. H. (1990). Aesthetic qualities and aesthetic value. The journal of philosophy, 87(1), 23-37.
  5. Heinich, N. (2012). Mapping intermediaries in contemporary art according to pragmatic sociology. European Journal of Cultural Stu-dies, 15(6), 695-702.
  6. Heinich, N. (2014). Practices of contemporary art: A pragmatic approach to a new artistic paradigm. In Artistic Practices, pp. 32-43. https://www.taylorfrancis.com/chapters/edit/10.4324/9781315863092-5/ 
  7. Hummelen, Y., & Scholte, T. (2020). Colle-cting and archiving information from living artists for the conservation of contemporary art. In Conservation of Easel Paintings (pp. 38-46). 
  8. Mangoensong, H. R. B., and Yanuartuti, S. (2020). Art as the Medium for Cultural Pre-servation Across Cultures. In International Joint Conference on Arts and Humanities (IJCAH 2020), pp. 838-841. 
  9. McCarthy, K. F., Ondaatje, E. H., & Brooks, A. (2001). Gifts of the muse: Reframing the debate about the benefits of the arts. Rand Corporation.
  10. Meecham, P., and Sheldon, J. (2013). Modern art: A critical introduction. Routledge.
  11. Mehr AA., and Shahim A. (2023). NFTs and the art world: understanding the role of social media in the emergence of digital collections, Br. J. Arts Humanit., 5(6), 277-290. https://doi.org/10.34104/bjah.02302770290 
  12. Merkel, J. (2007). Boston Institute of Contem-porary Art. Architectural Design, 77(6), 130-133.
  13. Meyer, R. (2013). What was contemporary art? MIT Press. https://books.google.com.my/books/about/What_was_Contemporary_ 
  14. Nicolson, B. (1951). Post-Impressionism and Roger Fry. The Burlington Magazine, 93(574), 11-15.
  15. Smith, T. (2010). The state of art history: Con-temporary art. The Art Bulletin, 92(4), 366-383.
  16. Souliman, V. (2017). British Modernism from an Australian Point of View: Clarice Zanders 1933 Exhibition of British Contemporary Art. Australian and New Zealand Journal of Art, 17(1), 84-96. https://www.une.edu.au/staff-profiles/hass/victoria-souliman 
  17. Stallabrass J. (2020). Contemporary art: a very short introduction (Vol. 146). Oxford Univer-sity Press, USA.
  18. Stokrocki, M. (1990). Socio-cultural issues in the interpretation of art settings. Journal of Cultural Research in Art Education, 8(1), 51.
  19. Walker, J. A. (2023). Cross-overs: Art into pop/pop into art. Taylor & Francis. https://www.routledge.com/Cross-Overs-Art-Into-PopPop-Into-Art/Walker/p/book/9781-138652583 
  20. Wingert, P. S. (1950). Cultural Motivations of an Artist. College Art Journal, 9(3), 308-316.
  21. Zahra F. (2021). Truck art in retrospect: the ascension of religious, political and cultural visuals, Br. J. Arts Humanit., 3(5), 106-115. https://doi.org/10.34104/bjah.02101060115 

Article Info:

Academic Editor

Dr. Sonjoy Bishwas, Executive, Universe Publishing Group (UniversePG), California, USA.

Received

October 4, 2024

Accepted

November 8, 2024

Published

November 20, 2024

Article DOI: 10.34104/bjah.024043048

Corresponding author

Fatima Zahra*
Faculty of Fine Arts, Bahauddin Zakariya University, Multan, Pakistan.

Cite this article

Zahra F, Umar S, Fatemi SS, and Usman M. (2024). A hermeneutical perspective towards the defining associations of “contemporary art”, Br. J. Arts Humanit., 6(1), 43-48. https://doi.org/10.34104/bjah.02404304 

Views
179
Download
108
Citations
Badge Img
Share