5th Arts & Humanities Conference, Copenhagen

THE RECIPROCAL RELATIONSHIP BETWEEN THE AUDIENCE AND THE CONTEMPORARY ART

HODA ZABOLINEZHAD, PARISA SHAD QAZVINI

Abstract:

What do we mean by a good art audience? What kind of art makes a person an art audience? What type of audience makes something an art work? And how does art engage the audience? Today, such questions are subject to controversy. Indeed, we know that the art audience is not an absolute term. According to R.POUIVET’s “Applied Ontology” every artwork must be kept in mind as it is, without any kind of ontology of art or artwork. This was suggested by Enlightenment philosophy, Aesthetics, and institutional theories of art. Thus a scheme is dedicated to the contemporary art, as the role of the artist ends after the exposition of the artwork. Since universal art has no limits anymore, the artist has no idea by whom or where their work will be visited in the future. The Pre-Modern art scheme, which was an integrated effort between the artwork (representation), the audience and the artist, has changed to a direct relationship between the artwork and the audience, focusing on the elevation of the human’s soul— from Modernism onwards. From now on, the constitution of an artwork seems to be entirely up to the second pole i.e. reception. Art therefore, may not exist unless constituted by the mind (audience) which receives it, only when the artwork acquires its particular characters in the process of reception. This article refers to E.Gombrich and N.GOODMan’s viewpoint concerning pictorial representation based on conceptualizing the image reception, followed by conventions internalized and established by the individuals, according to their own lifestyle and the global culture after the 60’s. Methodology: This reflection is written by Comparative and Analytical Research

Keywords: Art audience, Contemporary Art, Applied Ontology, R. POUIVET, Ontology of art