Activity 1.5 - Shock in Contemporary Art

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For most of the history of art, artists created their works primarily for others. Their work served clear purpose, external to their own creative process. They made works recording historical events, adorning public spaces, completing works for paying patrons, or competing in public exhibitions. These systems were not only cultural but also economic. Creating for audiences, like patrons, was how they made and secured their livelihood.

Over time, however, a shift started to emerge. Art increasingly became valued for its own sake, and artists gained more freedom to experiment with what and how they created. They could choose the subjects, explore personal interests and experiment outside the pressure of a patron’s expectations. Yet, even with this newfound freedom, a familiar pressure still existed: their work still needed to be marketable. Creative freedom expanded, but it continued to coexist with the reality of the pressure of producing art that could be bought.

When we talk about shock in art, it’s important to return to this history. The evolution from patron-driven production to self-driven creation reveals two key insights about how and why shock is part of art today.

Shock emerges from expanded artistic freedom

As artists gained control over their subject matter, they also gained the ability to address topics they were not allowed to when creating for patrons. Many contemporary artists use their work as a social voice and a catalyst for change, pushing the boundaries into political or religious territory. Chris Burden’s performance piece, Shoot, is a powerful example: by having himself shot in the arm in the name of art, Burden addressed the proliferation of guns in America and tense atmosphere that was prevalent around the Vietnam War. The piece was shocking for viewers not only because of the physical danger, but also for its engagement with the political and cultural anxieties many felt at the time.

Shock is also shaped by market pressures

Even with increased creative freedom, artists still need to operate within an art market that rewards popularity and visibility. In an oversaturated market, artists often feel the need to distinguish themselves from others in order to maintain a career. Being talked about, whether positively or negatively, can determine whether an artist is remembered, exhibited, and purchased by critics and collectors. Shock, controversy, and provocation become strategic tools used to generate attention, spark debate and ensure that an artwork becomes part of the public discourse. In this sense, shock is not only an artistic choice but a response to the competitiveness of today’s art world.

Artists can also use shock in their work as a direct commentary on structure and absurdity of the art world itself. Piero Manzoni’s Artist’s Shit is a striking example. By canning and selling his own excrement, and then watching those cans fetch increasingly high prices, Manzoni exposed the excesses and contradictions of the art world. The idea mocked that anything touched or created by an artist is then valuable and showed just how absurd the art market could be.

Shock in art, like many other aspects, can have both meaningful and shallow intentions. By knowing the motivation behind an artwork’s creation, we can start to see the value behind it. When an artist uses their work to challenge societal norms, illuminate political situations, or push the audience to confront an issue they might otherwise be ignoring, then it can become a useful tool for insight and reflection. When the controversy becomes the goal over the substance of the artwork, then the artist’s motivations begin to feel forced, superficial and even manipulative. Art holds great power within a society and with that, its creation should be wielded carefully and with intention.

 

 

 

Sources

Cascone, S. (2024, June 21). Art Bites: Chris Burden’s “Shoot.” Artnet News. https://news.artnet.com/art-world/art-bites-chris-burden-shoot-2524564

Doyle, J. (2023). Week 1 - Blook and Beauty. Art Theory and Criticism. 

Freeland, C. (2003). Art theory: A very short introduction. Oxford University Press.


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