In this article, I would like to discuss the essential basic knowledge required to properly understand contemporary art. Art is closely tied to the flow of the times, and at the root of many changes lie shifts in the spirit of the age or the discovery of new scientific principles. Thus, this article will explore the meaning of 'the appreciation and understanding of art' and examine 'the relationship between art, philosophy, and science.' Additionally, in light of the rapid changes in 21st-century contemporary art, we will look at the 'operational structure of contemporary art,' which has become globalized, specialized, and industrialized.
 
Because each era has different standards for evaluating artworks, there are limitations to understanding today's art using the methods of the past. To grasp modern art, we need an education that reflects its new and evolving nature, yet in Korea, 19th-century methods of art appreciation still dominate.

Appreciation and Understanding: Their Meaning

'Appreciation' refers to the emotions or thoughts formed through sensory perception, while 'understanding' is knowledge or experience gained through reason.
 
The human brain integrates emotion and intellect to perceive and judge objects, and it is based on this process that decisions are made. From this perspective, the creation of artwork is not merely the result of a sensory activity but an outcome of integrated thinking, expressed through both emotional and intellectual content and form.
 
People, even fellow artists, often speak as if great painters were destined to create masterpieces from birth. For example, they may claim that Van Gogh's uniqueness allowed him to produce such original works, or that Picasso, being a genius, could effortlessly create masterpieces with a few brushstrokes.

However, Van Gogh, though he struggled with mental health issues due to depression and sensitivity, diligently studied the works of realist artist Jean-François Millet, painstakingly analyzing his techniques and repeatedly practicing them. This is evident from the numerous drawings and sketches he left behind.

Picasso continued to study and practice throughout his life, even after becoming famous, leaving behind tens of thousands of works as a testament to his dedication to creation. The greatness of artists is not just the result of innate talent but rather their unyielding passion and relentless effort. To properly appreciate and understand art, one must grasp the value of the artist's efforts in achieving their artistic vision.

Taste, Level, and Value

People often tend to equate what they like with what is good. Liking something is a matter of personal taste, a freedom everyone is entitled to, and no one can say whether that taste is right or wrong. However, it is important to understand that there is a key issue to be addressed in order for personal taste to attain value and sophistication.
 
For instance, liking the 'sweet tteokbokki with lots of sugar' you enjoyed as a child is a personal preference. However, for this sweet tteokbokki to be considered a healthy dish, better ingredients and seasonings need to be used instead of sugar.
 
Good art is similar. Simply expressing the artist’s imagination or spontaneous ideas does not make it a good work of art. Even famous artists often claim that simply expressing whatever comes to mind is what art is about. However, for a work to be considered good, it must go beyond mere ideas. The artist's concept and theme must be refined, gaining universal relevance, and the appropriate visual form must express this content. Only then does it qualify as a good piece.
 
Art is valuable because it enriches life without restricting the lives of others. Therefore, properly appreciating and understanding art means elevating one's taste to something valuable and sophisticated. Without this foundation, art becomes meaningless.

Art, Science, and Philosophy

Many people believe that philosophy and science are rational and art is emotional, so they assume these fields are unrelated. However, the human brain integrates rational and emotional processes, working in harmony. Moreover, these three fields—art, philosophy, and science—are all disciplines that deal with the essence of the human spirit. Logical thinking in philosophy and empirical findings in science are often impossible without the help of imagination and intuition, which belong to the emotional realm.

In ancient Greece, a classic example of the era’s representative art is the sculpture Doryphoros (Spear-Bearer), created by Polykleitos. In his book Canon, Polykleitos proposed a theory of bodily proportions, arguing that "the human body resembles the form of the gods, and the most perfect body is seven heads tall." This idea was based on anthropomorphism, which likened humans to gods, and is an example of how the spirit of the age was applied to art in a rational manner.

The birth of Impressionism was also based on the discovery of Newton's spectrum, and today's modern art also has countless works based on cutting-edge scientific knowledge or technological advancements.

If you look at the exhibition "In Orbit" by Argentinean contemporary artist and architect Tomas Saraceno, held at the Gwangju National Asia Culture Center in 2017, you can see wonderful installation works that recreate the future society, environment, and city with cutting-edge technology through collaboration with astrophysics, aerospace, biologists, and physicists. I think that the meeting of art, philosophy, and cutting-edge science will become more active and accelerated in this way in the future.

It goes without saying that Alois Riegl (1858-1905) said, “Art is a product of the spirit of the times,” and just as René Magritte said, “I do philosophy through my work,” and Einstein said, “Science is impossible without God,” we can see that works of art constantly reveal the changes of the times in new visual ways.

The Organizational Structure of Contemporary Art

The structure of contemporary art refers to the overall system in which various sectors interact organically. A brief overview of these sectors includes the realm of creation, centered around artists and their works, the theoretical field (aesthetics, art history, criticism) that discusses the aesthetic value of art, exhibition spaces (museums, non-profit organizations, biennales) that showcase works, commercial spaces (galleries, auctions, art fairs) that operate for the distribution and sale of art, and the sector of collection, where artworks are acquired either for investment or as part of private or public collections.

To complete the structure of contemporary art, artists must first be producing diverse works, and basic conditions, such as small galleries or non-profit spaces for exhibition, must be in place. Curators and museums are needed to select artists with potential and to exhibit their works, while critics are essential to properly explain their artistic worlds. Following this, commercial galleries that supply works to the primary market are necessary, and the acquisition of works takes place through collectors or public collections.

The artworks sold in the primary market should then be circulated fairly and transparently through the secondary market system (auctions, dealers, consultants, advisors). Ultimately, the works that survive this entire process will remain as pieces of art history, assessed by art historians and aestheticians for their art historical and aesthetic value.
 Looking back at art from the past, across both Eastern and Western traditions, we see that the philosophy, power structures, or social characteristics of each period were reflected in the artwork. However, there has never been a time when the realm of creation and its supporting structures were as equally emphasized and visible as they are today.
 
Especially since the 2000s, contemporary art structures have become increasingly specialized, capitalized, and globalized, fundamentally influencing the birth and existence of art itself.