Esthetic problems about art’s reception at turn of 21st century

Study of the principles of perception of contemporary art poses to the researcher the problem of substantiating the classification of the reaction and the question of identifying the basic aesthetic problems of reception of art objects associated with the conception of the existence of culture on the turn of the 20-21st centuries, erasing the borders of elite and mass, dialogue and contradictories of artistic concepts, provocative nature of creativity and information communications. Aesthetic and theoretical issues of perception of contemporary art are focused on the formation of certain programmed emotional forms due to the specificity of contemporary art practices. The problems of receptive aesthetics go back to the time of the formation of the concept of perception of visual arts from the perspective of the viewer, the emphasis is not on the creative process of modern art works, but on the laws of their perception. The possibilities of reproduction and features of information structures of the modern art market generate the effect of foreknowledge, the viewer is already familiar with the exhibition on publications and reviews even before its visit, he is influenced by the large-scale amount of information about the art, which prevents real emotional empathy. An important tool for the formation of the principles of reception of modern art object is art criticism, the purpose of which is to decipher hidden meanings, translate them into a language that is understandable to the recipient without taking into account his level of education and cultural education, this process becomes didactic in nature, affecting the addition of artistic taste, social orientations, postreceptive activities. In the perception of contemporary art, the key role is played by factors that do not allow the viewer to develop an adequate assessment of works: psychological shock, excessive amounts of false information about art, the originality of artistic criticism, the lack of specialized education and cultural education, the principle of placement of works in the gallery, retrospective value orientation, distrust of new styles.