The Role of Art Object

The role of the art object in contemporary art there seems to be a confusing paradox. The art historian Charles Harrison states in 'Art in Theory' that the anthology be treated not solely as a resource to study art but that it be accompanied by 'first-hand experience of modern art' (Harrison, 1992). David Davies also stresses the importance of a 'direct experiential encounter with an instance of a work' (Davies, 2003). Yet despite this stress on the direct experience of artworks it seems that, as noted by Vickery, the conceptual or hermeneutic aspects of art seem to be those which are most valued within the contemporary art world (Vickery, 2004). The idea that the conveying of knowledge in art and design needs to be communicated via demonstration rather than via precepts was initially persuasive. The visual art object cannot communicate knowledge-it can. Instead, this knowledge is typically of a superficial nature and cannot account for the deep insights that art is usually thought to endow into emotions, human nature and relationships, and our place in the World, etc. (Scrivener, 2002). The study recognizes some activities of artists as research activities. However, the lack of widespread agreement on the theoretical foundation of this position has engendered an on-going debate concerning the meaning and nature of arts research. When we talking about the art object, we are not going to run away from discussing the question of aesthetics, and so forth. The studies by Wexler (2006) examine how aesthetic meaning of objects develops as a result of individual, cultural, social, and political causes. Analysis of aesthetic meaning-making has its history in the century-old debate between nature and nurture, a debate still alive in the new century (Ridley, 2003). In the first part of the twentieth century, the behaviourism of psychology and education that located learning in nature, gave way at the end of the century to the environment as the constructor of human development. His study will is in a specific segment of this debate - the political nature of making personal and cultural meaning of objects (both ordinary and aesthetic) by which we are attracted, perplexed, or repelled. Objects cannot deliver knowledge, art objects and contribution, the role of art objects in art institutions; this is a starting point to the question discussed. The main object of art to question whether it can bring knowledge or it is merely an object of art that comes from the expression of artists casually. Without such in-depth study of what he wanted to share, something that made the art objects in question about the meaning and contribution.