International E-Journal of Advances in Social Sciences

Öz

The paper argues the ways in which artwork
representation to its agents (artists, critics, curators, and audience) in the
new sociocultural post-literacy situation revises traditional art communicative
systems. Relying on an understanding of art as a public communication, the new
"art communication" or "communication in the art world"
concept is presented in the forms of manifestos and special types of comments
from the perspective of modern aesthetics. However, this characteristic does
not represent an attempt to understand the traditional artist’s set sense in his
communication, or at least this is not the agents’ first question, but a way of
asking how, for example, ready-made or performances have become art. The
problem the paper explores are the opportunities art gives for interaction
and/or resistance in the global social sphere that give participants a new type
of literacy (even we can speak about post-literacy). In other words,
contemporary practice in modern art propounds the impossibility to speak of a
concise, exhaustive standard definition that will help agents grant art status
to new objects. As a result, it can be concluded that the artist’s new
communicative strategies are many, not only one as in the past, and at the same
time, they do not follow one another. This implies that to understand the
strategies we should think in terms of a new post-literacy situation where
there is not only one "alphabet". The paper concludes that the
problem of Aesthetics as a science is not an expansion of its borders as seen
and thought in art practice during the XX century.