The relationship between artist and the audience

Graphic arts in a general perspective, is not an "elite" art and does not have a layers of ambiguity and vagueness. So, all of that in one art are receivable with excellent intuition and supreme feelings and, debate occurs among audiences on the way of understanding as well as its consequence. But, in the graphic art, it should be perceived with only one view; graphic might be accounted as fin arts. Individual perceptions or exclusive individuality of the artist may create the work, but in the Graphic, meeting a social need brings about a work. From this perspective, graphic has communicative, social and media-based duty therefore; we have heard or read for may times that they say it is likely that an artwork in its time or even over a time like a decade and even a century may not be completely understood. Even we have read that "there is no need an artwork to open itself but; it is untrue we think that all artwork is its first layer. It is said that based on our Perception and our understanding a work is shown to us and is kept cover. It has also been said that it is audience's duty that tries to know and deserves to gain an artwork. . Indeed, if we want to properly reflect to these points, it is necessary that we think carefully and with special sensitivity to circumstances and times in which today we are in it. The inherent feature is all that is regarded as "Today". If agility and the speed are regarded as strategic goal of the managers in advanced nations but, in our time, the concept of agility is the main goal of any communicative, cultural, managerial, and economic and media –based project. So, in such an era of times, the constant motion, steadily and fast as dot-com is indubitable principle of all human activities and it is just at the time that the computer evaluates "being" and "absence" or in other words "yes" and "no". Now, Digital is the girder of measuring and planning. That is, "information", "image" and "voice" in the language understood by the computer that is made of "zero" and "one" is entered and its exit is virtual world that is considered a digital image of the real world. Now, it's not just computers capable of understanding the "zero" and "one". The language is also combined with mind of the man and has made new man. The new person who his speed of gaining information is several thousand times more than the people became old even 5 years ago.
It is not needed to go back, the spaces are quickly increasing and in many of paths and passages "ambiguity" and "vacuum" is necessary that we re-investigate the position of artwork. The importance of this issue is when we know that in digital information there is no such thing as an error and can not be existed, because the foundation of everything is with "zero" or "one". While the nature of what is in humans has some kind of plurality or numerous components, the question is that in era of information technology, what understanding the artist might have of himself, media and society. ? Where is the place of the artist in this situation? "Design" as a creative process that demands hands, mind, memory and sense of the passion of the intelligence of the designer what difference might have with those of the designer?
The nineteenth century ended when the man at the beginning of the twentieth century was drunk to develop therefore; nineteenth-century ended with the dream of endless progression of human development. The twentieth century had a good start and the world was in peace and in the first 20 years of the twentieth century, major innovations in the field of science and technology took place.
- In 1901, the first radio signals beamed from Britain to the United States (by Marconi)
- In 1903, the Wright brothers made their own first plan
- In 1908, Henry Ford produced his first production models of his cars that 15 million of them were sold
- The automobile changed of rich recreational vehicle into a serious transporting one.
- It was also in the same years that Einstein outlined general and specialized relativity theories.
- Henri Bergson spoke on "Creative Evolution"
- Sigmund Freud prepared his psychoanalytic theories.
- The movie industry seriously raised and Stars such as Charlie Chaplin and Mary Pickford in the same year began to glow.
- Cycling and racing became popular.
- The Music of «Igor Stravinsky" and the Ballet Russe bewildered and fascinated the European people
- In 1909, "Sergei Pavlovich fiber Diagliph" took the Ballet Russe in Paris and London.
So, all these events occurred in the first 14th years of the twentieth century.
- In 1914, the First World War broke out unexpectedly. This war, that it Ferocity and brutality, which is less remembered in the history, followed with 10 million dead and 20 million wounded.
- In, 1917 Russian Revolution took place; a revolutionary lead by "Lenin" and after this revolution, the Communists won and the tsarist regime was dismantled.
- The early twentieth century, was the era of experience and boldness that developed the borders of all the arts including painting, sculpture, architecture, music, theater and film.
- avant-garde artists inspiring of the Renaissance traditions tried to experience "format", "color" and "content " and created a new visual culture that had influenced on twentieth century graphic design.
- In 1923, Surrealism was formed under the leadership of André Breton. Surrealism had a liberating effect on the graphic designers of the twentieth century in 30s and 40s century and Surrealist ideas are still widely used in commercial advertising.
- Surrealism paintings are in two different trends: falling deep into the mind and falling height dream to conquer 20th century cheerfully.
Salvador Dali, Rene Magritte and Eutangi established a kind of magical realism and others like Andre Masson, Jan Arp, Roberto Matta and Joan Miro by processing organic forms established their own Surrealism. It was in the same years that they founded "Le Corbusier", "Amedeo Avznfan" and "Fernand Léger" or purism. The aim of purism was the creation of art with clarity and objectivity to be synchronized with the machine era. So, "Constructivist" and adherents of the movement "d. steel" had many similarities with the" Puritans".
In 1919, Walter Gropius founded the Academy of "Bauhaus". Walter Gropius used some of the best and most creative minds in the school at that time such as Paul Klee, Wassily Kandinsky, Lionel Faynpngr, Johannes Ethan, Laszlo Mouhvly Nagy, Oskar Schlemmer, Josef Albers, Marcel Braugher, Herbert Bayer and Bauhaus. So, for implementation of their ideas, they created books, posters, catalogs, exhibitions and exquisite print. Germany in the 20 major played a crucial role in the transformation of the twentieth century graphic design.
- How is the receipt and acceptance of a "work" after centuries and by appearance of completely different cultural backgrounds? And receiving it has occurred in an era that has its common conventions, codes and signs among the familiar producer. The problem is not just in the 'content', it also related to the artist's interpretation of the concepts and tools of the concepts.
Has the man after successive century and gaining multiple experiences, not undergone changes in understanding concepts and also the way of displaying the changes in artwork?
Can we prescribe a kind of attitude and a way of expression for all generations? Whether the way of behavior and the interpretation of modern man with artistic and cultural products of past centuries what differences have or should have?
There are other questions;
A: If today's audience against an effect of long periods have had complimentary and reactive treatment.
B: He tries to analyze the work in order to seek cognitive function and its strengths and weaknesses
C: If the audience due to his scientific diagnosis got aware of the surprising balance work with his time and wondered about it; a surprise that is the result of readers' understanding of the creative adaptation of a historical period in the body of an artwork.
Undoubtedly, the audience or the contemporary artist in visiting the works of the past, faced with such questions and curiosities and they must find answers to them, because some passive and complimentary reactions are not necessarily mean surprising success of " old effect '.
What if, passivity and many of people being influenced to the works of the past to be due to facing the distant world. The time leaves charming traces on magic old books and "effect" in an unknown position since ancient times finds a magical effect. If we do not pay attention to such interpretations, we should make a distinction between the inaction of time magic that is devoid of consciousness and passivity due to the perceived balance between "the works" and "the Time of Creation" which is full of consciousness. It should be immediately noted that the "receiver of the work" or the audience, regardless of that the contemporary to be the "the work producer" or not, is it permissible to use the "work" as a "good grounds"? That is, to confiscate the element making the "work" in favor of creating a work that today is going to produce it?
Generally, being contemporary is an accepted reason for effect and leaking the mutual influence between covenants, style and methods. But, when a few centuries a gap is created, so that bonds and discrete areas of the covenant has been dismantled, then, how and with what approach can we interpret of visual element of "work" and within the structure do we use of another work and in other time ?