Friday, 20 January 2012

A Theory

For me, all art is in some way an interpretation of the human condition, expressed in a manner considered to be art by the artist. This interpretation may or may not be a conscious decision. It may be a product of a subconscious, suffering in silence. It could be described as a form of communication, a way of letting others know the truth without saying anything, without an explanation, a visual truth.

If you were to tell an artist something they did was a work of art and they know it isn’t or they don’t consider it so, then it is not. If the artist says something is a work of art, then it is. An artist cannot lie to their self when it comes to a work of art as it could potentially appear obvious to those who follow the artist’s work or to an artworld public when compared to their other works of art. Work that is based on something much more truthful, much more existential tends to possess a certain quality that cannot be faux. Any artist who believes in their work and knows whether consciously or subconsciously that it is existential could be considered to be an existential artist.

When an artist focuses less on aesthetics and more on ‘the condition of human existence, and on an individual’s emotions, actions, responsibilities and thoughts, or the memory or purpose of life’1 the work tends to hold more empathy with a wider variety of audience. This starts allowing a deeper connection with the artist, creating a dialogue between audience and artist through the art work, leading to the idea that all works of art are interactive. Interaction within art could be defined as being the viewer’s ability to gain a number of multisensory experiences from the work or it could simply be the viewer’s eyes interacting with the visual aspect of the work.

The status of art has become much more accessible to the general public, more interactive. The idea of art for all, is one many galleries tried and are still trying to achieve in a variety of different ways, such as workshops for children, networking and social events, screenings and fundraisers. These events also benefit galleries and artists financially by building up a general interest in contemporary art that until the opening of Tate Liverpool or ‘The Tate of the North’ in 1988 seemed only to exist amongst those who were involved with or working in the creative industries. One could even argue that the interest only really began when Tate Modern opened in 2000 due to the media coverage.

1. (Accessed 23rd November 2011)