Erasing the Misconceptions of Modern Art

Written by Stevie Vescio-Franz

Who is an artist if not a target of critique? To create art is to spark conversation — to startle, perplex and inspire. It’s no surprise, then, that modern art is often met with criticism from the general public.

“I could make that,” we say. “That’s just a bunch of scribbles on a canvas.” No, you couldn’t, and no, it’s not. Rest assured that you will never stumble upon a painting in a museum or gallery that isn’t “good” art. It may not be art that you enjoy, but it is valuable nonetheless.

Stirring the Pot

Artists always have been, and always will be, subject to criticism. Art is founded on change and innovation — two concepts humans seem opposed to. Our fear of the “different” is a coping mechanism that, from an evolutionary perspective, has kept us safe. In an increasingly global world, though, change is inevitable and differences are everywhere. The art world is no exception.

It’s easy to point at historical art that displays impressive feats of technical skill and say, “Now, that’s good art.” However, even the artists that we herald as masters have caused controversy with their work, finding themselves the target of criticism. Michelangelo, one of the most influential artists of all time, faced backlash for the vulgarity of his figures that adorn the Sistine Chapel. Édouard Manet’s famous painting, “Olympia,” which depicts a Parisian prostitute, was received by the public with outrage.

Nancy Locke, Associate Professor of Art History at Penn State, says that “as soon as artists were painting modern history as opposed to classical mythology, there was controversy.” In other words, to reference real, timely events is to stir the pot.

The Building Blocks of Art

Art is in perpetual conversation with itself, with each artist building upon those that came before them. Despite modernism’s emphasis on the “search for complete originality,” countless contemporary artists have created work that is in dialogue with art of the past.

postmodernism in architecture. Contrast that building with any of the modern, unadorned lab buildings that do not make reference to past architecture.” The difference is stark.

Whether artists are directly referencing historical paintings or simply taking inspiration from those who came before them, contemporary art would not exist in the absence of art history.

A Form of Commentary

Historically, art was largely representational, commissioned by patrons to serve a purpose. However, with the invention of the camera, the need for representational art all but disappeared. After all, no painter can render an image with the accuracy of a camera. This change allowed artists to experiment. Where they were once limited by their patrons, artists then had the freedom to create work that expressed their opinions about society.

“Think of any contemporary social problem or situation, and there is probably a contemporary artist trying to address it. The art is more likely to be conceptual art or to use non-traditional materials, but the engagement with the world in which it exists is paramount,” says Locke.

Locke cites Olafur Eliasson as an example of a contemporary artist who has departed from traditional materials in order to make a statement. Eliasson, in an effort to confront climate change, had blocks of ice shaved from a glacier in Greenland and shipped to London. There, they were displayed in front of the Tate Modern museum, where viewers were forced to watch them melt.

It is work of this kind — work which requires very little traditional skill — that is most commonly met with unfair criticism. This criticism often dismisses any conceptual aspect of the artwork, focusing instead on its lack of decoration.

Contemporary Times Call for Contemporary Talent

“People always think first of skill when they think of art; they think how difficult it would be to paint the Sistine Chapel ceiling like Michelangelo,” says Locke. However, we are not living in the Italian Renaissance. Today, artists “need to be able to market themselves to galleries that can facilitate sales and placement in major international exhibitions.” This means reimagining history and presenting work in entirely novel ways.

Locke emphasizes the impact of historical reference, saying, “It is easily seen in architecture. Postmodernist architecture made eclectic use of classical elements like columns, alongside playful ones like the lion paws on the steps of the Palmer Museum of Art — an excellent example of

Contemporary artists have many of the same technical skills that their predecessors did, but their work exists in an entirely separate context. Today, the art world rejects traditional displays of artistic skill, instead emphasizing innovation and purpose. With an open mind, even those with no knowledge of the art world can begin to appreciate contemporary art in all of its weird glory. “Once you start looking at abstract paintings, you learn to appreciate the techniques these artists use and the compositions they produce,” says Locke.