Contemporary art

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Contemporary art can be defined variously as art produced at this present point in time or art produced since World War II. The definition of the word contemporary would support the first view, but museums of contemporary art commonly define their collections as consisting of art produced since World War II.

Contents

Institutions

Contemporary art is exhibited by commercial contemporary art galleries, private collectors, corporations, publicly funded arts organizations, contemporary art museums or by artists themselves in artist-run spaces. Contemporary artists are supported by grants, awards and prizes as well as by direct sales of their work.

There are close relationships between publicly funded contemporary art organisations and the commercial sector. For instance, in Britain a handful of dealers represent the artists featured in leading publicly funded contemporary art museums.[1]

Individual collectors can wield considerable influence. Charles Saatchi dominated the contemporary art market in Britain during the 1980s and the 1990s; the subtitle of the 1999 book Young British Artists: The Saatchi Decade uses of the name of the private collector to define an entire decade of contemporary art production.[2]

Corporations have attempted to integrate themselves into the contemporary art world: exhibiting contemporary art within their premises, organising and sponsoring contemporary art awards and building up extensive collections of corporate art.[3]

The institutions of art have been criticised for regulating what is designated as contemporary art. Outsider art, for instance, is literally contemporary art, in that it is produced in the present day. However, it is not considered so because the artists are self-taught and are assumed to be working outside of an art historical context.[4] Craft activities, such as textile design, are also excluded from the realm of contemporary art, despite large audiences for exhibitions.[5] Attention is drawn to the way that craft objects must subscribe to particular values in order to be admitted. "A ceramic object that is intended as a subversive comment on the nature of beauty is more likely to fit the definition of contemporary art than one that is simply beautiful."[6]

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