The statement is true that it is quite a long time ago that the majority of art viewers came to enjoy biography of artists more than works of art itself difficult to understand, the times of such a new spectacle was substituted to take the life of artists as an object of interest instead of the communication of artworks.
Even so, artists and poets are no longer prima donna in art history. The thesis of 'excellence' to give backing to genius seems to be anachronistic in terms of the progress of history.
In modern history of art, the main constituent just having a weak base in the structure or system, namely unconsciousness, ideology)', or code has to be necessarily referred.
Artists in the present are also experiencing the isolation out of the lamplight of ego that led the past ancestors, (paradoxically) in that way they come to take after poor politicians who have nothing but himself as an object of an exaggerated public pledge.
But the mythology of a genius is recharged by a pragmatic genius to begin to treat the life hospitably without escaping from it in the late of this century.
The mythology originating from a transcendental dimension is supported by the trend not irrelevant to turning a ten-aged girl into an attention-attracted artist.
Such paradox is demonstrated by the example that New York and Paris in the 20th century accepted the Alps and the Scandinavian Peninsula thirty five thou sand years old and by the success in an absurd try to suture 'art gallery' and 'cave' in Dodrgne in the present day.
We tried to understand the process to lose the meaning of art as guarantee of theprominent minority into haggard existence and the series of process to be rebuilt as a star by markets in the viewpoint of abmythologization and remythologization of a genius. We tried to notice the cross point of the times for mythological economy, or economic mythology to newly emerge, after mythology, originating from the spirit of excellence, was rejected in the times of technology and rationality. And I tried to expl血 about exotic sight and yet growing up healthily in the crevice betw liefs and religion regardless of the real existence, on the other hand, today's stars and magicians are apparently material entity.
In addition, this thesis is to hold in check excessively materialistically categorized methodology of art history, and at the same time, I hope this study will help prepare for the mecting point of art history and criticism.