subject: A Handful Of Of My Personal Feelings About Creative Creation Nowadays [print this page] A Handful Of Of My Personal Feelings About Creative Creation Nowadays
From the Latin word artis "skill, craft, technical knowledge, art is defined as the creation / invention in the mechanism of thought and imagination, an idea of original aesthetic content translatable and discernible via our senses. Thus we find the concept of art (from the Greek techne "all know-how produces an object") which joins the concepts of "creation" and "creator".
The creator, the artist, is one who surrenders to the fine arts - that is to say exclusively to the arts-oriented to the manifestation of beauty. It is itself a source of creation, creator who at first is like a creator god, but also comparable in a second time to a "producer". "Production art" does not seem devoid of commercial connotation: implying "marketing", "sale" and therefore "return", it puts the creative artist to become an artist producer for the production Art in a mercantile necessary for survival. Therefore, the vision we offer art today seems confused: Fine arts classic is slid inevitably toward a commercial art, where art itself seems to be a form of "advertising" sort of event promotion for an artist trying to promote itself to increase its sales. Therefore one may wonder how the current artistic atmospheres change it.
To do this, we will consider first the study of mutation of techniques of artistic production, and secondly the processing status of an artist in contemporary society, before finishing with an approach to vision value of artistic production today.
Since the nineteenth century there was a mutation of the art production techniques, in fact considering that major revolutions of the late eighteenth and early nineteenth century have greatly affected the organization of Western societies, one can seen as having influenced the artistic research. Mainstream schools are struggling with the modern schools that want to end the time-honored techniques and the great masters. Conventional techniques, they affect the visual arts and musical or theatrical, are therefore seconded see lined by new aesthetic of the nineteenth until nowadays. How are multiple differences in research and technology made by Champaigne in one of his "Vanities" in the seventeenth century and an "Untitled" by Piet Mondrian in the 1970s! Or the musical, how many differences between a "Lesson of Darkness" by Charpentier (seventeenth century) and "Etched in the rock 'Sniper (XXI century)! The sciences evolve, known techniques are growing every year sees its share of new practices spent: Oil painting seems to disappear in front of the gleaming acrylic! Even new art forms emerging, such as body art, scarification, etc.. !
Today we live in a time of "always faster, always better" and forget to take our time! This is felt even in artistic creation: orders patrons meet deadlines, it became a trade with order books, advertising campaigns, etc. Everything is done to produce and sell more quickly paints ultra-fast drying varnish and quickly-taken throw to the dustbin of old oil paintings that drying took several weeks! Chemistry mixes with art and contribute to its development, while according to a new chemistry to the practical use of new materials more efficient, faster, "newer"! This quest for instant and immediacy (as the rice cooked in 30 seconds in the microwave or Paris / New York in 2 hours) does not contradict to the essence of artistic creation? This requires thought, research, hard work, not for speed work "done-quickly / badly-done"! These techniques seem to respond to predefined precepts: we forget the freedom of the creative spirit in favor of a passing fashion that imposes its criteria for success: a good design no longer judged according to the research and the work which she responds, but the conformity of the points to the selection criteria at the time.
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