When we think of contemporary aesthetics or beauty, there remains a distinction between what has a particular attractive or impactful aura to today’s times as opposed to previous eras such as the ages of modernism and impressionism. During the time of modernity, roughly between 1900-1969, artists and patrons were mostly concerned with restructuring or the break-up of form such as in the case of cubism or abstract expressionism. There were notable exceptions however such as Pablo Picasso inventing the artform of collage and assemblage which have directly led to more conceptual and experimental approaches today with the mediums. Another example would be Marcel Duchamp’s urinal titled Fountain which was probably the first mainstream execution of not only conceptual art but also installation as well.
Today, artists are challenging and redefining notions of beauty not only through technical approaches and experimental mediums but also through direct and indirect conceptual avenues which reinterpret what the viewer defines as having intrinsic value from historical, philosophical, sociological, cultural, and poetic perspectives. Some of these methods are subtle, such as introducing a color palette unfamiliar to previous eras such as the neon tones found in the works of Dorota Łapa-Maik, while others are more overt to conveying contemporary inclinations with the infusion of conceptual props such as colorful smoke and balloons playfully interacting with landscapes in the ethereal apparitional work of Cheryl Maeder.
Contemporary aesthetics is not only about ‘beauty’ however. An artist such as Joas-Sebastian Nebe applies his art in a crude manner with disfigurations which reflect anti-commercial inclinations and appeal. Also, the surfaces of Sana Shaw’s works may seem like barren landscapes of salt mines with the subtle cracks of her plaster. Other contemporary artists embrace beauty through experimental approaches such as in the fascinating works of Nancy Staub-Laughlin and her assemblages which offer varying perspectives through configurations of gem-like structures among the mists of beautiful landscapes and seascapes. An artist such as Kevin Kuenster creates paintings which invoke mystery as well as the macabre which redefines the purpose of figurative art to have a direct conceptual approach of fantastical undertakings in regard to creating therianthrope constructs. Maria Oliviera combines the art of self-portrait photography with digital art to create Photoshopped realms only imagined in the pits of Hades or a landscape overruled by the Diablo.
As individuals and a collective consciousness living in the digital era, we yearn for experiences which are interpreted through analogue approaches, either literally or figuratively. When we mean figuratively, we are of course referencing artificial intelligence. Many artforms can be semi-automated or completely analogue, however audiences tend to appreciate as much individual attention and craftsmanship conducted by a human into a work of art. This is probably the reason why much of A.I. art has been sidelined by a vast majority of galleries and institutions.
Aesthetics is not irrelevant or subordinated to other forms of approaches in art such as sociological or historical context as many academics believe. No, in fact, redefining and accentuating aesthetics can enhance conceptual understanding of contemporary identity. Some people may associate any application of aesthetics or beauty in contemporary art as kitsch, however when we fully study the implications of understanding what drives social behavior and desire, we will often find aesthetics as the motivating factor. What drives a scuba diver researcher to explore a coral reef besides ecology? What guides a man to pursue a beautiful woman? Why do people flock to seaside resorts and spend endless amounts of money to visit shores which have the clearest and bluest oceans? Aesthetics remains a large escorted factor in contemporary social, cultural, and psychological behaviors and their implications towards concepts and understanding on contemporary purpose and identity.
As visual art becomes increasingly conceptual with the incorporation of integrative techniques as well as theatrical presentations involving clever hand-made set designs and props, artists are investigating contemporary aesthetics through the realm of conveying various emotional impulses, such as desire. How does one convey desire without aesthetics? Much of what drives humanity derives from what we as individuals and as a collective find to be beautiful and worth a pursuit of our time and resources. We should not mistake aesthetics for surface appeal solely, as many internal factors have attractive effects as well such as defining human attributes and experiences which shape our conscious reality as well as the subconscious. Through the exploration of environments, psychological impulses as well as concepts relating to our sense of drive, contemporary artists are redefining the goal of aesthetics to have deeper purpose and meaning beyond ornamental traits and superficial surfaces.