Art论文模板 – Art Reflective Account

Contemporary art, simply put, is art that has been done in present time. It is from postmodern art that it develops. Although controversy still surrounds the real definition of contemporary art, it can be said authoritatively that any piece of art that was done in the past two decades fits into this category. In the context of museums, even pieces of art that were done in the 70s fit here. For the art world to function effectively, the role that art institutions play cannot be underscored, and this is something that leading artist Maria Fusco agrees with. In her lectures, she underlines the importance of major museums, art schools, philanthropists, non-profit spaces, curators and practices of individual artists in the overall growth of contemporary artists (Doherty, 2004). This is something that most contemporary and visual arts students can relate with, especially those dealing with street photography.

Born in Ireland in 1972, Maria Fusco is a leading art critic and lecturer. The art of Fusco is widely used, and it has been translated into different languages globally. She is attached to the University of Edinburgh, as well as the Edinburgh college of Arts. Her art is largely concerned with fiction, and this she does through exploring and embodying production modalities. She does this through independent publishing, theoretical and critical writing, fictive, as well as editing. Her work is so expansive, and this has seen her bag numerous accolades (Elkins, 2004). She has also edited numerous volumes, and there is little doubt that she is among the most influential contemporary artists.

Contemporary art galleries are mostly preferred by professional artists because this is where most contemporary art exhibition takes place. The exhibition is done by contemporary art museums, private collectors, arts organizations that are publicly funded as well as the artists themselves. When it comes to street photography, the timing and framing are major aspects that should not be overlooked. This ensures that images are only created at decisive moments. It incorporates sophisticated techniques that should all be mastered (Heyenga, 2011).

It is evident that Maria Fusco wields considerable influence as far as contemporary art is concern. This is a fact that can be attested to by deep knowledge of contemporary art issues, and she also appears well-informed during her lecture. In her own admission, contemporary art has come under so much regulation in recent times, and this is something that she criticizes, and rightly so. A keen analysis reveals that outsider art is also regarded as contemporary art since its production takes place in the present day. Artists should be self-taught when it comes to contemporary art, and this is something that Fusco agrees with. Contemporary art also has to share the values that the public can relate with, as this will go a long way in ensuring that it shapes their attitudes positively. Most contemporary artists agree that contemporary art has the ability to form part of popular culture, and this can go a long way in ensuring that its artists become stars (Hodge, 2011). Although contemporary art might be subjected to a lot of rejection and skepticism, it has been getting positive reviews in recent times, and this is especially so in areas of visual art and photography.

Cecilia Stenbom is another contemporary artist who remains influential given her numerous award-winning pieces. She is originally from Sweden and attended the prestigious Fine Arts Academy based in Helsinki. This is before she proceeded to the school of Art in Glasgow. The works of Stenbom have been screened and exhibited internally and nationally, and this underlines how well she is placed as far as contemporary art is concerned. Among the projects she undertook recently include “The Case” in 2013, and “How to Choose” in 2012 (Stallabrass, 2006). Most of her works are commissioned by both public and private organizations because she never disappoints in her works. She has also participated in various film festival exposures such as the Rotterdam Internal Film Festival and Aesthetica Short Film Festival. Other includes short film festivals in Glasgow, London and Tampere.

In her own statement, Stenbom states tat her practice explores and captures human relationships, and she has made this her signature art. She largely concerns herself with pieces of art that exhibit interactions and behaviors that individuals perform daily. This is something that most street photographers can relate with. Her works touch on notions of identity, especially in this culture which is rich in information and is consumer driven (Doherty, 2004). Contemporary artists obviously appreciate the fact that we are surrounded by an abundance of information, and this is something that they seek to exploit. In Stenbom’s line of work, she deliberately ensures that fiction and reality are continually blurred. Further, she uses made up scenarios to record and capture the events of others. Simply put, she examines the desires and anxieties of individuals, and she follows this up by interpreting the scenarios within domestic life, mass media, retail and entertainment.

Reference List

Doherty, C., 2004. Contemporary Art: From Studio to Situation. 3rd ed. Chicago: Black Dog Pub..

Elkins, J., 2004. On the Strange Place of Religion in Contemporary Art. 4th ed. Chicago: Psychology Press.

Heyenga, L., 2011. Paper Cutting Book: Contemporary Artists, Timeless Craft. 5th ed. New York: Chronicle Books.

Hodge, D., 2011. The Contemporary Art Book: The Essential Guide to 200 of the World’s Most Widely Exhibited Artists. 6th ed. Chicago: Goodman.

Stallabrass, J., 2006. Contemporary Art: A Very Short Introduction. 4th ed. Oxford: Oxford University Press.

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