Contemporary art is the art of today, produced in the second half of the 20th century or in the 21st century. Contemporary artists work in a globally influenced, culturally diverse, technologically advancing world, their art is a dynamic combination of materials, methods and subjects that continue the challenging of boundaries, well underway in the 20th century. Diverse and eclectic, contemporary art as a whole is distinguished by the lack of a uniform, organising principle, ideology, or "-ism". Contemporary art is part of a cultural dialogue that concerns larger contextual frameworks such as personal and cultural identity, family and nationality. In vernacular English and contemporary are synonyms, resulting in some conflation and confusion of the terms modern art and contemporary art by non-specialists; some define contemporary art as art produced within "our lifetime," recognising that lifetimes and life spans vary. However, there is a recognition; the classification of "contemporary art" as a special type of art, rather than a general adjectival phrase, goes back to the beginnings of Modernism in the English-speaking world.
In London, the Contemporary Art Society was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in public museums. A number of other institutions using the term were founded in the 1930s, such as in 1938 the Contemporary Art Society of Adelaide, an increasing number after 1945. Many, like the Institute of Contemporary Art, Boston changed their names from ones using "Modern art" in this period, as Modernism became defined as a historical art movement, much "modern" art ceased to be "contemporary"; the definition of what is contemporary is always on the move, anchored in the present with a start date that moves forward, the works the Contemporary Art Society bought in 1910 could no longer be described as contemporary. Particular points that have been seen as marking a change in art styles include the end of World War II and the 1960s. There has been a lack of natural break points since the 1960s, definitions of what constitutes "contemporary art" in the 2010s vary, are imprecise.
Art from the past 20 years is likely to be included, definitions include art going back to about 1970. And early 21st cent. Both an outgrowth and a rejection of modern art". Many use the formulation "Contemporary Art", which avoids this problem. Smaller commercial galleries and other sources may use stricter definitions restricting the "contemporary" to work from 2000 onwards. Artists who are still productive after a long career, ongoing art movements, may present a particular issue. Sociologist Nathalie Heinich draws a distinction between modern and contemporary art, describing them as two different paradigms which overlap historically, she found that while "modern art" challenges the conventions of representation, "contemporary art" challenges the notion of an artwork. She regards Duchamp's Fountain as the starting point of contemporary art, which gained momentum after World War II with Gutai's performances, Yves Klein's monochromes and Rauschenberg's Erased de Kooning Drawing. One of the difficulties many people have in approaching contemporary artwork is its diversity—diversity of material, subject matter, time periods.
It is "distinguished by the lack of a uniform organizing principle, ideology, or -ism" that we so see in other, oftentimes more familiar, art periods and movements. Broadly speaking, we see Modernism as looking at modernist principles—the focus of the work is self-referential, investigating its own materials. Impressionism looks at our perception of a moment through light and color as opposed to attempts at stark realism. Contemporary art, on the other hand, does not have single objective or point of view, its view instead is unclear reflective of the world today. It can be, contradictory and open-ended. There are, however, a number of common themes. While these are not exhaustive, notable themes include: identity politics, the body and migration, contemporary society and culture and memory, institutional and political critique. Post-modern, post-structuralist and Marxist theory have played important roles in the development of contemporary theories of art; the functioning of the art world is dependent on art institutions, ranging from major museums to private galleries, non-profit spaces, art schools and publishers, the practices of individual artists, writers and philanthropists.
A major division in the art world is between the for-profit and non-profit sectors, although in recent years the boundaries between for-profit private and non-profit public institutions have become blurred. Most well-known contemporary art is exhibited by professional artists at commercial contemporary art galleries, by private collectors, art auction
Aberdeen F. C. competed in the Scottish Premier Division, Scottish Cup, League Cup and UEFA Cup in season 1979–80. They finished first in the Premier Division, the club's first Premier Division title and second Scottish league championship. In the cups, they reached the Scottish Cup Semi final, losing to Rangers, lost the League Cup Final after a replay against Dundee United. In Europe, they were drawn against Eintracht Frankfurt, losing 1–2 on aggregate over two legs in the first round. In July 1979, Aberdeen embarked on a tour of Denmark; this was followed by friendly matches against three Scottish clubs, home games against English clubs Coventry City and Tottenham Hotspur. During the season, friendly matches were played against Leicester City, Rothes and an Arbroath Select. Kevin Stirling. Aberdeen A Centenary History 1903-2003. Desert Island Books 2002. ISBN 1-874287-49-X
"Ehtesaab" is the second track on the 1995 compilation album Kashmakash by the sufi rock band Junoon, is the second single from the album. After the release of the band's first real big hit single "Jazba-e-Junoon", the song of the 1996 Cricket World Cup. "Ehtesaab" was their second hit and was released in December 1996. The video of the single was directed by Shoaib Mansoor; the controversial video release of the song mocked Pakistani politics and led to the video of the song being banned from PTV, Pakistan's State television. The video of the single featured in BBC film The Princess and the Playboy, an exposé on Benazir's and her husband's reign. In Newsweek, Carla Power dedicated a full-page story to Junoon with the headline "For God and Country." The blunt, hard-hitting "Ehtesaab" video shows Pakistani children working backbreaking menial jobs, juxtaposed with fictional politicians gorging themselves at five-star hotels. It includes a scene in which a horse is dining at a luxury hotel; those mares ate better than many of Pakistan's poor.
In air conditioned stables, no less. Junoon were courted for the controversial video release of the single which included footage of a polo pony eating in a posh restaurant by the Pakistani government. Many thought that the image was an indictment of the corrupt Pakistani political elite, of former Prime Minister Benazir Bhutto; the government responded to it and banned the song and video from the state television. In 1997, Junoon went on their first Indian tour; the band's first concert was held in India. After travelling throughout the country, Junoon saw crowds of as many as of 50,000 fans at different venues; the band was courted for a controversy during their tour to India by the Pakistani government. The Indian government was testing nuclear devices at that time, Salman Ahmad suggested that the Indian and Pakistani leaders should spend more on education and health and less on weapons; this led to a prolonged ban on Junoon's music by the Pakistani government. PTV, the Pakistan state television, refused to show the audience clips from Junoon releases.
The Ministry of Culture charged Junoon with making comments in India amounting to sedition and treason. The band members denied these charges reminding people of the fact that they had been victimised since the release of "Ehtesaab" because they chose to speak out against political corruption. Ehtesaab All tracks are written by Junoon. JunoonAli Azmat - lead vocals, backing vocals Salman Ahmad - backing vocals, lead guitar Brian O'Connell - bass guitar, backing vocalsAdditional musiciansBacking vocals by Najam Sheraz Salman Ahmad, Rock & Roll Jihad: A Muslim Rock Star’s Revolution for Peace, Free Press. ISBN 978-1-4165-9767-4. Junoon Official Website Ehtesaab Official Lyrics