The failure of contemporary Modern Art

The failure of contemporary Modern Art

by Charles Harris
article from Thursday 3, November, 2016

Dear reader,

I AM PLEASED to have been asked to write a series of features on the failure of contemporary modern art, and the need for immediate reform today. While some of this material is taken from my second book entitled, Trust Your Heart the Validity of Contemporary Art , the aims are both the same, to help ‘Reunite the World with Classical Art’ and address some of the sadness which is missing in our lives today, which beautiful art from the Great Tradition normally provided.

Unfortunately, as a consequence of daily cynical misinformation on this subject through the media, many have been misled, or may never have understood those necessary and glorious aspects of art and why. 

Indeed, its true past values have been almost lost, regularly marginalised in an unwholesome process of vested interests. Consequently, many readers may naturally need some new help to understand how and why contemporary modern art today has no realistic purpose or human social values for us. For practically it rejected its social responsibility and fails to offer a proven traditional and needful sight of the real world, but presents fairy stories and ugly fantasy with words instead.

So today, Art, the great flagship of culture, has lost its sincere role. It is now an historical modern farce, trivial, grossly wrong, distorted and without critics, offering no future hopes or salvation for all of society to see and appreciate, to trust and enjoy, and to view again with respect and lasting pleasure. e.g. When Raphael finished a painting, the whole city of Rome took a day's holiday.

Thus instead of repeating the usual negative media question, What is art? And then just agreeing with that normal misleading justification for most of the perfect nonsense which follows, I shall instead begin by revealing how contemporary modern art today is an utter disaster for everybody. Whilst to offer a balanced view, which does not seem to exist elsewhere, I shall try to show that satisfactory alternatives are both still possible and necessary in the different ways that art affects us, although these do involve lost skills and knowledge. 

So, I think we can fairly ask – How did this happen? What does this all mean? What can we do about it today? What do we need to understand to successfully create reform? How and why should we do this for the future? 

These questions will naturally involve subjects such as art education, a new need to encourage, value and then exhibit contemporary traditional art as well, an end to the bias corruption of only commissioning conceptual art for the public with public money, thus allowing the public to gain a wider understanding and proper representation in these processes and with hope the media will also want to help bring about these crucial changes to this sad reality too.

Art Historians

So to begin those questions today along with others, I trust the time has arrived to challenge high up the modern art tree with blind Art Historians, and ask them to both consider and abandon their long standing narrow bias towards a modernist type art in favour of a new balanced approach, and address an urgent need for appropriate classical art to appear as well.

They should ask is it really socially acceptable, under this umbrella of ‘Anything Goes Modernism,’ for a total idiot to pee in the snow and still call this art today?          

After the 1960’s with its Cold War uncertainty, short term mentality and its throw-away pop art that is now long past, art should now offer more than just an ironic cynicism of dismay. 

Today society has very different requirements, it has need for a new skill-based art, it also needs to show beauty in a convincing sense, live, human, visual, self-evident and real. Art to make us proud of our current human achievements with greater civilised values, reflecting our recent social reforms, better living conditions, and improving higher standards for future generations to both approve and contribute towards. 

Unfortunately a decline in limited contemporary modern art is obvious, and the outcome clear, with its half-fulfilled cold concepts, readily designed to appeal to an elitist fashionable few. I wrote a long time ago that ‘Great art should educate, inform and dynamically reaffirm the experience of life for us all.’                                                  

Next time I will begin to illustrate why it should and must...

Pictured, Charles Harris painting in situ, photo by Ian Potter.


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