Art and identity crisis

Abstract

Abstract

Art is the civilized container of human production and the indication of the level of cultural sophistication cannot be placed in fixed templates, as it changes in each period according to the variables surrounding it. There is no old or new art, but rather new visions and methods that cast a shadow over it. As for linking it to identity, it is a hypothetical relationship with a national ideological character. Since the beginnings of art history, we have seen a graphic and emotional creativity not marked by an identity. Schools and artistic currents were formed according to the identities of the idea, visions and style. The importance of the research comes to deal with the idea of ​​linking identity with art and liberation from circulating perceptions of the role of art and the artist’s responsibility towards his issues, to contemporary concepts of the role of art. Art and what its present to us from fluid modernity that permeated all aspects of life as an individual, conceptual, emotional, instantaneous, digital, consumer effect, a great transfer from what was previously recognized. As for identity, it is a civilized, heritage, religious and linguistic stock that art forms the visual and sensory part of. Most of the experiments that married art and national identity failed. Art in our country suffers from a creativity crisis due to the absence of an aesthetic artistic personality that can rise to the cosmic, so that the creations of the other who is at our doors are crowded. Ideological letters wrapped in western-style envelopes, The painting is the painting and the sculpture is the sculpture as it was created by the hands of western modern art schools and currents. Recognizing the modernity and contemporaneity of western art does not cancel our heritage and civilization stock, whether in architecture, handicrafts or visual effects, but the civilizational gap created by colonialism for long periods and the modernity of objective art criticism is the size of publishing a general artistic culture whose outputs are reflected on our artists today. The researcher followed the comparative analytical descriptive approach between the Iraqi artist and the western artist in terms of influence and effectiveness, The researcher reviewed examples of Iraqi artists who are still producing, except Jawad Selim. The researcher concluded with results, including the strengthening of trust between the Iraqi artist and the recipient explodes artistic creativity through direct communication and exchange of conversations, which dissolves the state of alienation of art, in addition to the prevalence of a culture of objective constructive artistic criticism and allowing the public to criticize the visual achievement. and influence. For the public in criticism of the visual achievement.