Съвременното изкуство и идеята за дисциплинарен център. Академични измерения на професията художник в началото на 21 век
Contemporary Art and the Concept of a Disciplinary Focus. Academic Dimensions of the Professions of an Artist in the Early 21st century

Summary/Abstract: This article discusses the focus of a disciplinary nature of the contemporary profession of a painter. Analysed are various discourses and approaches to the profession of the painter in the 21st century. What is offered is an attempt for the delimiting of the field of art, which is based on the premise, that professions are related to abstract knowledge, defining the professional field of art becoming increasingly difficult. Each social structure provides prestige for those, who spread and exercise the knowledge of each profession in its purest form. The view is put, that the question what it means to be an painter, is the most pure form of this concept. According to the author, who follows the theoretical postulates of Andrew Abbot, the American sociologist, the advantage of the main intellectual structures is that they do not have any practice of applied disciplines, rather research and rhetorical strategies. It namely these strategies and questions which contain the greatest potential to commit themselves with discipline knowledge proper-hence its highest prestige of the focus of a discipline. From a historical point of view art has the advantage of setting rhetorical strategies and questions, which succeed in raising the question of the nature of art itself. The article defends the premise, that behind the illusion of post-discipline, opening of art and expansion of its limits, we can trace processes, which more and more categorically define the disciplinary nature of art itself, in as much as art assumes its authority, through the creation of new types of knowledge and new types of history. According to the author the various policies of legitimacy in contemporary art are related to a desire for a recognition, which can be only be arrived at in the context of an excessively-disciplined medium. It is a medium, where the model of art is linked directly with an awareness of the inner role of confirmation, based on the building up of a disciplined consciousness and disposition//self confidence. In this way, the state of indeterminateness in contemporary art, registered by many a researcher, is more than even linked with the concept for a disciplinary focus and with processes, which are the outcome of a successively opening state of hyper-discipline.

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