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/ March 2024
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http:// www.amazoniainvestiga.info ISSN 2322- 6307
DOI: https://doi.org/10.34069/AI/2024.75.03.28
How to Cite:
Pavliv, A., Mosendz, O., Rybchenko, O., Avula, A., & Fryz, P. (2024). Interplay of tradition and modernity in contemporary art
practices. Amazonia Investiga, 13(75), 331-342. https://doi.org/10.34069/AI/2024.75.03.28
Interplay of tradition and modernity in contemporary art practices
Interacción entre tradición y modernidad en las prácticas artísticas contemporáneas
Received: January 29, 2024 Accepted: March 20, 2024
Written by:
Andriy Pavliv1
https://orcid.org/0000-0002-6149-2972
Oksana Mosendz2
https://orcid.org/0000-0003-1268-2179
Olesia Rybchenko3
https://orcid.org/0000-0002-6253-9218
Anastasiia Avula4
https://orcid.org/0000-0002-6968-7766
Petro Fryz5
https://orcid.org/0009-0007-1812-5468
Abstract
The purpose of this article is to examine the
profound transformation of artistic consciousness in
recent years, drawing attention to the relationship
between traditional philosophy and art and
modernity. Despite the instability of this
connection, art today reflects the reality of our time
and focuses on social problems and political
revolutions. Using the method of literary analysis
and processing of such databases as Scopus, Google
scholar and Research Gate, the paper analyses the
impact of postmodernism on contemporary art and
culture, expanding the horizons of interpretation
and understanding of the image in art. The results
of the work revealed theories that enable each
individual to express their ideas and views through
art, creating new ways of perceiving the world
around them. It has been shown that the interaction
of tradition and modernity in contemporary art
practices occurs through the image as a key element
of postmodernism, which plays an important role in
the modern world. Visual perceptions, symbolism,
fantasy and imagination are combined in the work
1
Doctor of Architecture, Associate Professor, Professor, Department of Design and Architecture Fundamentals, Institute of
Architecture and Design, Lviv Polytechnic National University, Lviv, Ukraine. WoS Researcher ID: ACN-0772-2022
2
PhD in Culture and Art, Associate Professor, Department of Fine Arts and Design, Faculty of Ukrainian and Foreign Philology and
Study of Arts, Oles Honchar Dnipro National University, Dnipro, Ukraine. WoS Researcher ID: GOC-7781-2022
3
PhD, Associate Professor, Department of Digital Design, Faculty of Arts and Fashion, Kyiv National University of Technologies
and Design, Kyiv, Ukraine. WoS Researcher ID: KFS-1306-2024
4
PhD, National Academy of Fine Art and Architecture, Kyiv, Ukraine. WoS Researcher ID: KFR-7310-2024
5
PhD in Art Studies, Associate Professor of the Department of Vocal, Choral, Choreographic and Fine Arts, Drohobych Ivan Franko
State Pedagogical University, Drohobych, Ukraine. WoS Researcher ID: KEH-6723-2024
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of artists and contribute to the formation of
reflective thinking. Husserl's philosophy and
approaches to the perception of entities helped to
develop reflection and understanding of the
contemporary socio-cultural environment through
the image as a “condition of possibility” for
perceiving the world. We conclude that the visual
dimension reflects the social construction of the
gaze and the atmosphere of our time, reflecting the
unique spirit of the era in which we live. The result
is a relevant and important understanding of the
importance of the image in contemporary culture
and the impact of tradition on society.
Keywords: Artistic consciousnesd political
revolutions, using the method of literarys,
traditions, postmodernism, practices, contemporary
art.
Introduction
The interaction of tradition and modernity in
contemporary art practices is reflected in a wide
range of cultural, philosophical and aesthetic
aspects. The ideas of postmodernism,
postcolonialism and postfeminism influence the
development of contemporary art and culture,
expanding the horizons of interpretation and
understanding of a For instance, modern authors’
photography and video artwork often explores
the intersection of tradition and modernity in
modern societies. She uses traditional imagery
and symbols in a contemporary context to
address issues of gender, politics, and society in
the modern world (Kergel, 2023). These
concepts help humanity to better understand the
present by defining and analysing varirt. ous
aspects of cultural and artistic life. This modern
relationship between tradition and modernism
creates new opportunities for expressing ideas,
emotions and views of our contemporary world
through art.
Over the past forty years, according to Hanna &
Paans (2020), humanity has witnessed a
profound transformation of artistic
consciousness. Starting in 1964, when art
became more open to rigorous philosophical
theories, it seemed that a new connection
between philosophy and art had emerged (Pippin,
2021). Philosophy is now seen as an integral part
of the art world, whereas previously it was seen
as something separated from it through a distance
of alienation. The authors create immersive
installations that blur the lines between
traditional art forms and contemporary culture.
Their work often challenges viewers to
reconsider their perceptions of space, identity,
and social norms through a combination of
traditional sculptural techniques and modern
conceptual ideas (Melnyk et al., 2023). Thus, it
can be argued that artists are indeed looking at
aesthetics with new eyes, constantly returning to
tradition through the prism of modernity
(Simmons III, 2021).
Despite the fact that aesthetics and related
theories resonate and are valued in art, this
relationship remains unstable. Over the last thirty
years, most aesthetic theories have moved away
from “art”, exposing it to postmodern art
practices and theories (Slugan, 2019). The
philosophy of art has significantly changed its
trajectory, leaving contemporary art practices
without proper analysis. Thus, the purpose of this
article is to analyse in depth the related works of
art historians and philosophers to explain
contemporary artistic phenomena and the
relationship between tradition and modernity.
Art today reflects the reality of our time, where
politics, morality and ethics are becoming key
topics. Artists focus on social issues, ethnic
conflicts, and political revolutions (Cahn, Ross &
Shapshay, 2020). Their goal is to create works
that will provoke viewers, make them think about
the essence of the modern world without turning
away from tradition. They are not afraid to be
critical and subversive, they want to be
“engaged” in what is happening around them.
Art today is a tool for expressing thoughts,
emotions and views on reality. Modern artists
combine traditional portraiture techniques with
modern elements by painting contemporary
figures in the style of classical European
portraits. This juxtaposition of tradition and
Pavliv, A., Mosendz, O., Rybchenko, O., Avula, A., Fryz, P. / Volume 13 - Issue 75: 331-342 / March, 2024
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modernity challenges traditional representations
of power and identity (Earley, 2023). In order to
understand how the history - one of the possible
histories - of certain artistic, aesthetic and
philosophical positions has developed over the
past two decades, the paper focuses on some of
the preliminary conditions that made them
possible, and then on how they were identified
and theorised. The main theories that have
influenced - and continue to influence - not only
contemporary aesthetic concepts, but also, and
above all, art and culture are examined.
The study begins with an analysis of the idea of
postmodernism, which emphasises the
breakdown of traditional values and emphasises
the role of individuality and diversity. This
approach to art allows artists to experiment and
express their ideas without restrictions.
Thus, the purpose of this paper is to analyse in
depth the interaction between tradition and
modernity in contemporary art practices,
focusing on the ideas of postmodernism. In
particular, the work aims to reveal the impact of
these concepts on the development of
contemporary art and culture, to expand the
horizons of interpretation and understanding of
the image in art, and to support diversity and
individuality in art. In order to achieve this goal,
the paper covers the following issues:
1. What are the main ideas of postmodernism
that contribute to the development of
contemporary art?
2. How is the interaction between tradition and
modernism reflected in the work of artists
today?
3. What new possibilities for expressing ideas,
emotions and views are opened up by the
modern approach to art?
Answers to these questions will help us better
understand the influence of contemporary
concepts and traditions on art today, as well as
reveal new perspectives on the development of
art in the future.
Theoretical framework
Over the past 40 years, art has moved from
modernism to modernity, but postmodernism
remains an important link in this process. Despite
criticism, postmodernism helps to avoid the
totalisation of modernity and frees us from the
limitations of the absolute concept of
individuality. According to Melnyk, Shakun,
Herasymenko, Nitchenko, Olkhovyk &
Kolievatov, (2023), postmodernity is defined by
the recognition that totality can only arise from
the absolute definition of separateness, which
means that distinction and diversity are
necessary.
Starting in the 1970s, postmodernism emerged in
Europe as a new phenomenon in theory and
practice that was strikingly fresh (Ioris, 2023).
However, attitudes towards postmodernism
quickly changed, and it came to be seen as a
“complex and cautious newcomer”, although it
was also praised as an emancipatory cultural
paradigm (O'Donnell, 2023). Despite this, the
criticality of postmodernism remained
unchanged. There have been attempts to reject
postmodernism, arguing that modernity
continues its journey and remains relevant. This
attitude has also been expressed in concepts that
still exist today, such as “parallel modernities”,
“second modernity” or “modernisation” in China
(Kergel, 2023).
In order to identify important cultural features of
modernity, in particular those related to
aesthetics, it is possible to consider the rise of
postmodern ideas as a starting point (Botvyn et
al., 2022). The fascination with postmodernism
and its constant attempts to define itself by
defending itself against modernity can be
important for understanding contemporary
culture. From the perspective of the present,
postmodernism is mainly a transitional
phenomenon that reflects profound historical
changes - the transition from industrial society
and national cultures and economies to a post-
industrial information society and globalised
capital (Titkova, 2022).
In the early 1980s, one of the main theoretical
issues was the question of the existence and
nature of the fashionable cultural dominant of
postmodernism (Sproesser et al., 2022).
Although the answer to this question has not yet
been clear, it is still relevant even in our time. To
put forward some possible answers, the focus is
on three theories that have attracted the attention
of a wider audience than just aesthetics. In this
context, the study focuses on the “aesthetics of
cultural relations” and contemporary art theory.
An analysis of the interaction between tradition
and modernity in contemporary art practices
shows that the visual arts are perceived as a major
branch of art that can influence philosophical and
theoretical communities (Di Sabatino, &
Mastrantoni, 2022). The authors analyse
contemporary art by considering its impact on
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global processes. They believe that artists and
contemporary art are inseparable and mixed,
which makes it difficult to define the boundaries
between different cultural and geographical areas
of the world (Chi & Belliveau, 2022). According
to Say & Seng (2022), if we assume that changes
in relation to the past and the future reflect an era
of transformation, then the period in culture and
art of the 1980s can be classified as such. The
main current of this time, postmodernism, is the
latest cultural paradigm that has been developed
and exclusively theorised mainly in the European
and American context (Baker & Joselit, 2022).
As a concept and an empirical phenomenon,
postmodernism also emerged in the field of
architecture, which indicates the rejection of the
previous cultural paradigm, which prevailed at
that time, mainly in literature and art.
The notion of postmodernism became popular
because it uniquely reflected various fragments
of socio-cultural life. According to Jürgens &
Hildbrand (2022), the term was initially popular
only in literary criticism, but then it became
associated with ultramodernity, breaking with
tradition, and extremism.
Thus, postmodernism embodied everything that
was previously considered negative in traditional
critical theory and the avant-garde. While this
statement was justified by Western canons, it was
questioned in other countries and within the
community: in Cuba, for example, the term
“postmodernism” was banned because of its
association with the United States. In China, it
was seen as a concept of “modernity”. In the
countries of the former Soviet Union, on the
other hand, postmodernism became an
emancipatory social and cultural theory because
of its openness to dogma (cultural or political),
its search for eclecticism, and its “anything goes”
approach. Postmodernism has also been
positively received in small cultures, which have
always favoured the cultural politics of
appropriation and eclecticism within modernism.
This cultural practice, previously understood as a
sign of a lack of originality and a tendency to
borrow, has been transformed: it is now seen as a
manifestation of active participation in
contemporary cultural trends.
The existing literature on the interaction between
tradition and modernity in contemporary art
practices tends to focus on the positive aspects of
postmodernism and its impact on global
processes. However, there is a lack of critical
analysis of the limitations and contradictions
inherent in postmodern art movements.
Future research could delve deeper into the
power dynamics within the art world and how
they shape the production and reception of
contemporary art. Additionally, a more nuanced
exploration of how different cultural and
geographical contexts interpret and engage with
postmodernism could provide valuable insights
into the complexities of contemporary art
practices. Exploring the ways in which
postmodernism may reinforce or challenge
existing power structures and inequalities in the
art world could offer important perspectives on
the role of art in society. Additionally,
investigating how contemporary artists navigate
the tensions between tradition and modernity in
their work and how this is reflected in their
artistic processes and outcomes could shed light
on the changing dynamics of the art world.
A more critical and nuanced approach to the
study of tradition and modernity in contemporary
art practices could provide a deeper
understanding of the complexities and
contradictions inherent in the cultural production
of our time.
Methodology
The work is based on the analysis of related
scholarly literature in cultural theory and
philosophy, referring to original texts and
secondary literature studies that reconstruct
various aspects. The literature search included
research papers from 2020 to 2024 from such
search engines as Scopus, Google scholar, and
Research Gate. The question of the role of the
image in contemporary art is quite extensive, and
to consider it, the paper focused on the central
aspect - the image (accordingly, these were the
keywords selected for the search). Today,
humanity is witnessing a revival and diversity of
forms of the image that surround it, which leads
to the fact that we are talking about a “civilisation
of the image” or an “era of the image” (Jürgens
& Hildbrand, 2022). The debate about the “fear”
of the image, which arose in ancient times from
the work of Plato, is still relevant today,
reflecting the history of Western thought and
generating distrust of the image. However, the
epistemological revolution and the new scientific
approach indicate a crisis in the scientific
credibility of the tradition and restore the
importance of the image in the cultural context.
The methods used to explore the profound
transformation of artistic consciousness in the
last forty years included an analysis of
postmodernist theories and their impact on
contemporary art and culture. Husserl's
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philosophy was also used to develop reflective
thinking and understanding of the contemporary
socio-cultural environment through the image as
a “condition of possibility” for perceiving the
world. The importance of the image in
contemporary culture and its impact on society
was determined through the analysis of the visual
dimension, symbolism, fantasy and imagination
in artistic practices. The result is the creation of
new ways of perceiving the world and the
development of the creative potential of each
person through art.
In order to address the working issues, a number
of methods were used: analysis and classification
of images in contemporary art, study of the
history of the image and its development in
culture, research of the influence of socio-
political factors on the formation of images in
contemporary art, analysis of the emotional and
psychological impact of images on the viewer
and ways of reproducing them in different artistic
genres, research and analysis of the reception of
images in contemporary society and their
interaction with globalisation and
multiculturalism, study of the role of images in
shaping cultural values. The use of these methods
allowed us to examine a wide range of aspects of
the image in contemporary art and to reveal its
importance in the cultural context of tradition and
modernity.
Results and discussion
The interaction of tradition and modernity in
artistic practices means that the image as a key
element of postmodernity plays an important role
in the contemporary world. Visual perceptions,
symbolism, fantasy and imagination are
combined in contemporary artistic creativity,
playing a role in the formation of holistic
reflective thinking. Husserl's philosophy and
approaches to the perception of entities help to
develop reflection and understanding of the
contemporary socio-cultural environment
through the image as a “condition of possibility”
for perceiving the world (Fig. 1):
Figure 1. Interpretation of the image as a key element of postmodernity.
Source: Authors' own research.
The visual dimension reflects the social
construction of the gaze and the atmosphere of
our time, reflecting the unique spirit of the era in
which we live (Dorren, 2024). In today's world,
the image can be considered one of the key
features of postmodernity, a prominent feature of
our era. It is significant that the image, along with
symbolism, fantasy and imagination, has
returned to the forefront and played an important
role. It is worth emphasising the intensity of
visual perceptions, the image as a key form of our
everyday life, where it is entangled in all spheres
of society, and as a type of knowledge.
According to Rugg's (2022) analysis, we can
refer to a common “archetype” or mundus of the
imaginary that covers the entire spectrum of
thought. This mundus is expressed in visual
perception, where our eye seems to be already
used to work: spreading, accumulation and
circulation are the processes that help the image
take shape and fascinate our visual perception
(Drummond, 2022). Phenomenological
sensitivity, when the image draws our
consciousness to entities, relating the individual
to the world and introducing us to the “vision of
entities” in Husserl's way.
Husserl's philosophy considers essence as the
basis of true knowledge, which consists in the
perception of absolute forms and allows us to
develop reflection and thinking (Drummond,
2022). According to Husserl, access to essences
is based on perceiving reality as it is and
understanding things according to their revealed
properties (Taylor, 2023). This philosophy is
marked by the study of the “climatology” of our
time, which takes into account the current socio-
cultural environment and focuses on the image as
a “condition of possibility” for perceiving the
world (Brannigan & Lawson, 2023). The world
is reflected in the visual dimension, where we can
identify the social construction of the gaze that
reflects the atmosphere of our time and the air we
breathe, for example, as in the works of D.B.
Waterman (Fig. 2):
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Figure 2. Perceptions of reality that reflect the atmosphere of today.
Source: Db watermanart (2019)
Considering the centrality of vision and the
image as a contemporary 'sensory' form, it is
possible to understand that vision becomes a
symbolic aspect of cognition, contributing to
oculocentrism. This tendency, according to
Earley (2023), arises from knowledge
transmitted through images and interaction with
visual experience. Ways of seeing and working
with irrigation allow us to understand the world
through a visual presentation consisting of
various aspects of traditional experience
conveyed through modern techniques. The
centrality of vision promotes understanding
through the “representational” nature of the
image and reveals reality through the
visualisation of the world through various media.
The aim is to make the world present through
visual metaphor.
In this aspect, according to Corey (2023),
knowledge can be seen as experience in visual
images, where it becomes a space for the
consumption of experience. The image that
emerges before us should be seen as a form of
expression and communication that helps us to
understand the world. This image can be seen as
a means of reflecting on everyday life, as well as
a part of a comprehensive sociology. In
continuation of this idea, Abrudan (2023) notes
that the transition from modernity to
postmodernity can be expressed through
immersion in a visual context where images
become the basis for building social relations. In
postmodern culture, images become the
dominant cultural form of knowledge
transmission.
A related work by Mullen (2023) describes one
of the important aspects of the transition from
modernity to postmodernity. According to the
scholar, it is the use of visual context as a means
of building social relations. In postmodernity, in
contrast to traditional culture, where the verbal
prevailed, visual images become the main means
of expression. This leads to the pluralisation of
images of the world and the constitution of the
world as an image. According to Vidomenko,
Levchenko & Lukianykhin (2022), the growing
spectacularity of society, fuelled by
technological development, is becoming more
and more present, expanding the flow of
production and consumption. We stand in
solidarity, because we live in a “society of the
spectacle”, where only what can be visualised is
important.
It should be added that, in addition to the
criticisms that can be made about this
“spectacle”, Skakun (2022) adds that it should be
realised that today's society receives information
about different worldviews through the creation
of photographs or films. These images can also
be seen as a form of social presence and
interaction. The transition from analogue to
digital, which has become a feature of our time,
intensifies these processes through the
proliferation of digital cameras. It is becoming
the norm and a daily routine. However, it is
precisely because of its ordinariness that it
acquires special significance. Banality, as
sociologist Sayed (2023) argues, is part of an
epistemological process where display and
gesturation are important. Photographing or
filming everyday life illustrates this idea (Fig. 3):
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Figure 3. Lauri Novak art photographer, mentor, and autor.
Source: Lauri Novak (2024)
This may be perceived as an obsession, but it is
actually an indicator of modernity, of social life
permeated with visual elements, where visual
narratives are created with the help of numerous
devices that capture every moment of everyday
life. Thus, the characteristics of the image society
are becoming more pronounced according to the
analysis of visual research theorists Stoliarchuk,
Binkivska, Khrypko, Spudka, Chop,
Chornomordenko & Salo (2024). The
researchers emphasise the importance of visual
experience and the centrality of everyday life in
visual culture. This culture aims to understand
image consumption as the main strategy of visual
research (Kłeczek & Hajdas, 2024). Thus, visual
sociology studies society through the analysis of
visual products and sees visual information as
sociological data and social indicators.
The visual culture that permeates the
contemporary atmosphere includes a variety of
visual references, from films and videos to
advertisements and photographs (Jove et al.,
2022). This iconographic context not only takes
into account optical aspects but also emphasises
their tactile impact (Wigena et al., 2023). This
helps us to better understand the visual practices
that involve objects created by mass tourism
(Fig. 4):
Figure 4. Visual practices that include objects created by mass tourism.
Source: Geography Asia (2018)
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An important part of this is the exchange of
images in digital space that reflect experiences,
places and connections to tradition, the
perspective of modernity against ancient ruins,
and diverse perspectives on everyday life. In this
way, these images become a means of exchange
and community, recreating everyday life and
normality in a contextualised way.
The emergence of digital technologies allows us
to transfer direct experience from physical space
to the Internet using various tools, such as laptops
with webcams, new generation smartphones,
Bluetooth technology and continuous
connectivity via Wi-Fi or iPhone. The
technological presence in the urban environment
facilitates this process of transition between
different spaces, creating synergies between
them.
In a related study, Kowalik (2023) demonstrates
that new technologies facilitate constant
exchange and provide the ability to create,
experiment and play with images easier than ever
before compared to traditional visual devices.
They are means of expression that facilitate the
construction of visual narratives. By visiting a
variety of websites such as Flickr, Picasaweb, or
participating in popular social media such as
Twitter and Facebook, one can observe everyday
life.
In his study, Bendaş (2023) explains that it is a
contemporary art form that can be described as a
true “web ethnography” that reflects the
atmosphere of social life and the need for
communication, reflecting the “cultural spirit” of
our time through symbolic “elements” and the
creation of playful “clouds”. It is indeed a game
with photos and videos, a game with images as a
form of experience, which, with the help of
digital potential, emphasises the emphasis on the
moment (Fig. 5):
Figure 5. Kellie O'Dempsey integrating reality into the game.
Source: Kellie O'Dempsey (2015)
The integration of reality into play is one of the
characteristics of contemporary experience that
affects the human condition in new conditions.
This leads to a new aesthetic that emphasises the
everyday and the banal, through which
connections, heritage and interaction are formed.
For example, comments on photos on social
media such as Facebook, where the image
describes the daily life of an individual and
encourages us to communicate with others. This
allows the individual to express themselves and
show their self (Pieniążek, 2023). Society and
interaction are built on role gestures that are
manifested in everyday interactions. A network
built through images, where the self and the other
are defined in the context of media interaction
(Baca, 2023). This interactivity in cyberspace is
a natural expression of human nature, and the
“here and now” position builds the framework of
our existence, where our identity develops in
different worlds.
All digital technologies are involved in creating
and maintaining the “integrated” show in the
background that is a characteristic of today. We
are all becoming active participants in the great
spectacle of everyday life, and various services
such as Flickr, Fotoscity, Daylymotion,
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YouTube, Jomeo are clear examples of the
changes in the virtual environment of the modern
person (Farokhinejad, 2023). This “visual” need
reflects the proliferation of representation in the
postmodern world, where images are created and
distributed through digital technologies.
Thus, a photo taken at a party, in social situations
or in everyday life reflects a person's presence,
which becomes a trace of their existence and life
experiences when these images are posted in a
“slideshow” on sharing sites (Brondino &
Greaney, 2023). This opens up a variety of social
forms that harness the potential of digital
technologies as a means of training the internal
processes of the mind.
In general, the image has always been important
in every era, changing and adapting to the
atmosphere of its time. The civilisation of the
image has existed in various forms, and in the
modern world it is once again attracted by digital
technologies. We are in a post-Kodak era that
simultaneously evokes the “analogue” nostalgia
of vintage video photography, pulling out the
magic of the Leika or Super 8 camera, icons that
accompany modern fetishisation (Arnold, 2023).
The paradox of digitalisation, which, according
to Chifor (2023), strengthens the analogue style,
is marked by its vigour and exposure. We can talk
about the merging of styles and patchwork,
which are characteristic of postmodernism. If we
focus on the style of the era, as suggested by
Zimmel, we should take into account that the
digitisation of an image and its subsequent
visualisation have a great impact on the social
and cultural world, bringing a special sensitivity
to the ways of communication and connecting
people according to the Latin meaning of the
word “communicare”, which means “union”.
The digitisation of the image as a postmodern
brand should be seen as both a medium and a
cultural object that influences research in visual
sociology and the relationship between image
and society. The impact of a medium on an
individual or society depends on the change in
scale produced by each new technology and each
expansion of our property.
Limitations of the study include the reliance on a
specific philosophical perspective (Husserl's
philosophy) and its application to the
contemporary art world. This may limit the
generalizability of the findings to other
philosophical frameworks or artistic practices.
Additionally, the study mainly focuses on the
role of the image in postmodernity without
considering other factors that may influence
artistic creativity, such as political, economic, or
social contexts.
Concrete examples of how the findings can be
applied to the real world include the use of digital
technologies to create and share visual narratives.
Artists can leverage platforms such as social
media and photo-sharing websites to reach a
wider audience and engage in dialogue with
viewers. This allows for the democratization of
art and the exploration of new modes of artistic
expression. Furthermore, understanding the role
of the image as a "condition of possibility" for
perceiving the world can encourage artists to
reflect on the socio-cultural environment and
create works that challenge conventional
thinking. By embracing the visual dimension as
a reflection of our time, artists can contribute to
a deeper understanding of contemporary society
and its complexities.
Conclusions
Thus, the interaction of tradition and modernity
in contemporary art shows that the concepts of
cultural heritage and innovation can exist
together and continue to evolve. Artists use
traditional cultural symbols and techniques, but
reinterpret them in the context of the modern
world, introducing new ideas and approaches.
This synthesis helps to create new forms of
expression and open up new ways of perceiving
and understanding art. As a result, the image
becomes a dynamic and living symbol of the
union of the past, present and future, which opens
up new opportunities for the discovery and
development of cultural heritage in the modern
world. So, we can draw several conclusions:
• First of all, the image in the modern world is
a key feature of postmodernism and an
important feature of our era;
• Visual culture and image are an important
way of perception and communication in
modern society;
• The study of visual aspects of sociology
allows us to better understand the world and
interactions between people;
• Digital technologies influence the creation,
consumption and exchange of visual images,
which reflects an important aspect of
modern experience and communication;
• And finally, it is worth considering that the
image, as an important element of cultural
consciousness, combines the ability to
search for new things, to embody ideas and
to perceive the world around us.
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For future research, it is important to further
explore the influence of tradition and innovation
on contemporary art, including in the context of
globalisation. It would be useful to investigate
how different cultures interact and influence each
other through art, which can lead to new forms of
aesthetic perception and understanding. It is also
important to study the impact of technologies
such as virtual reality, artificial intelligence, and
others on the creation and perception of images
in art. Studies of the role of art in shaping the
cultural identity of modern society, as well as its
impact on social and political processes, are also
promising. Research in this area can expand the
general understanding of the importance of art
for the formation of a creative and open society.
Future research in the field of visual culture and
fine arts can contribute to the further
development of art and its understanding of the
world through the prism of the image.
Some limitations of the study to consider could
include the lack of a diverse range of artists and
artworks examined, which may limit the
generalizability of the findings. Additionally, the
study may not fully capture the complex and
multifaceted nature of tradition and modernity in
contemporary art, as these concepts can be
interpreted and manifested in a variety of ways.
In terms of future research, it would be valuable
to explore how different cultural backgrounds
and experiences shape artists' approaches to
blending tradition and modernity in their work.
Additionally, examining the impact of social,
political, and economic factors on the production
and reception of contemporary art could provide
further insights into the dynamic relationship
between tradition and innovation. Investigating
how contemporary artists navigate the tension
between preserving cultural heritage and pushing
the boundaries of artistic expression could also
shed light on the complexities of this artistic
practice.
Overall, by delving deeper into these aspects,
future research can offer a more nuanced
understanding of how tradition and modernity
intersect in contemporary art, and how this
intersection shapes artistic production, reception,
and broader societal discourses.
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