Resilience in art

In art, resilience is the capacity of the work of art to preserve through aesthetics its particularity distinguishing it from any other object, despite the increasing subjectivization in the production of works. Resilience in art appears as a response to the gradual setting aside of beauty during the twentieth century resulting today in an inability to define the work of art. The late nineteenth and twentieth century saw the birth of art movements such as Symbolism, Cubism and Surrealism which sought to adjust to the great social, industrial, economic and political changes that were taking place at the time. Parallel to these movements is a series of strangest movements such as Hirsutes, Hydropathes, Incohérents and highly politicized and subversive movements such as Constructivism, Suprematism, Futurism and Dada. These movements, combined with Anglo-Saxon Analytic Aesthetics from the 1950s which is characterized by the rejection of the notion of beauty as the foundation of art, call into question the very existence of the work of art as a specific human achievement. The Analytic Aesthetics will base art on the consensus of the "world of art", thus accepting that any object whatsoever may be considered as art as long as it is shown in a place provided for this purpose. Thus art no longer offers homogeneity linked to a cultural substratum but a plurality of individualities. It does not unfold in time, its duration often becomes ephemeral. Beauty is considered superfluous, asserting that a work of art does not have to be based on beauty, for it is self-sufficient. Analytic Aesthetics is rooted in the philosophy of the eighteenth century when philosophers, like Edmund Burke or Herbart claim that there is no existing beauty by itself. Beauty is not in the object itself but in the subject who experiences some emotion. Little by little, the idea of beauty gives way to the feeling of beauty. The objective definition of the beautiful becomes impossible, it is relegated to the subjective evaluation of the viewer.