Art Studio KR

 I will answer provocatively and without unnecessary introductions: understanding modern art is impossible. I would say  it is inadvisable. So what are these crazy artists all about? They invent strange things to bother the average viewer of art. And he/she feels more and more insecure. He often turns his back and says: it's not for me. On the other hand, those who want to be considered skilful art viewers and cannot cope with "understanding" say that the artists themselves do not know what they mean. There are others  more impatient who would ignore this. Finally, politicians who want to censor some works of art. The latter, however, is a topic for a separate entry. Now I will write something that can calm down, I hope, all these lost viewers of art. Understanding cannot be the only and main explanation of works. Science is a field which is guided by reason, for which the sense of being is understanding. Art, however, goes deeper, to the human psyche, which is guided by

 Defining the boundaries of creative search was not always the artist's sovereign decision. In the history of art, these borders most often resulted from the generally prevailing canon or the current style. In the art of the second half of the 20th century, the change of artistic trends and tendencies is gaining speed. These changes mainly concern new areas, expanding boundaries and giving them new ways of imaging. Each field of art is  a new boundary, a new area of ​​search is finally a new way of perceiving. Discovering and exploring the borders of art was one of the slogans of avant-garde artists. The most important was what was new. In the art so far, the avant-garde were individuals. Now every direction in art has become avant-garde. The creator became free from formal restrictions. It was the period of one big artistic laboratory.   Words, 1962, Allan Kaprow When creative freedom was won, it is difficult to talk about styles and directions. The artist is no longer in harmony

Quite often the reaction of the viewer standing in front of the painting is searching for references to real reality in an abstract form. As if apart from what you can see, there were no emotions, imagination, intuitions and all the complexity of human existence. Realistic imaging depicts a theme from real reality, the one we can see or the one we cannot see (dreams, surrealism, symbolism).   Piet Mondrian, Still life with a jar of ginger II Contrary to appearances, this problem looks similar in relation to the abstract form of imaging. Abstract painting often has its source in the real world that surrounds us, the one we register with our sight. It processes it down to abstract values ​​and signs. It also uses reality existing outside our sense of sight (e.g. feelings, emotions, everything that happens in the human psyche) giving him a real artistic sign. Sometimes it is a sign of exploration within the limits of the painting form itself. However, most works of art originate from the

The history of art from Paleolithic to the present day points to a certain common point of painting. Regardless of the era, style and direction in art, the artists  focus on the chosen fragment of reality, or choose only the right specific way to explore it. The era in which they live predisposes them to this creative attitude. Often, ho wever, they set themselves the limits of creative search. This is particularly evident in the history of art from the late nineteenth century to the times closer to us today. It is during this period that frequent changes in styles and directions are the most radical. Impressionism - a direct, sensory perception of the variability of nature. There is no fixed landscape for this direction, depending on the lighting colors and even shapes of perceived reality change. We do not realize how this new perception of the world has also affected us at present. We live in a pictorial world, today man is able to see more media messages in an hour, more images of

 "Graffiti, illegally placed in public space, is treated by some as an act of vandalism, by others as an art form." It's a Wikipedia quote. But I don't mean the definition or the history. What puzzles me is, why those who paint want their anonymous painting efforts  became well known and public? Can this action be compared to the activity of a troublesome neighbour, forcing everyone to listen to his favourite music? A neighbour who implies that it is only the adversity  that makes him a listener and not , for example, a disco polo star? Both graffiti artists and people deafening their neighbours want to become  known, but the latter are noncreative. Simply turn the knob, move the slider to the right or use the remote control.    In turn, those who paint on walls, fences and wherever possible have a certain idea. To realize it, they have to plan it, buy materials, choose the time and place. Sometimes it is more spontaneous, expressing their disapproval of the surroundi