Western modern art criticism

Author: Xialium
Publisher:
Publish Date: 2005-03-01
Features: Extreme modernist art is condemned for creating works that only involve itself and nothing else. It can only disappear in the worthless practice of carrier/panel art unless it prompts the dominant figures of this art to transcend their own contradictions and become individuals capable of thinking and expressing their ideas, like Donald Judd, Robert Morris, Robert Smithson, and Joseph Kosuth. They used strong arguments to resist the so-called "postmodernism"—the opposite of premodernism. Joseph Kosuth, in particular, acted as an excellent witness for nearly a quarter of a century. He rarely participated in the activities of the "Greenbergian" movement in the late 1960s and believed that artists have a responsibility to defend the meaning of their work. "Without this defense of meaning, art would be no different from other kinds of work." So, what did the wise artists of the 1970s and 1980s see? First, the impact of the market, in other words, conservatives obediently followed merchants and collectors, and in this situation, criticism could only speak in riddles; second, the long-dormant European painting art that had been lying low since the 1950s and 1960s gradually revived. They began to shed the chaos of the recent market (the prosperity of the early 1980s and the crisis that began in 1999) and placed the development within art itself in its proper position.