A general crisis of the modern art or as differently speaking, crisis of its representation, in my opinion, has three original causes in the basis.
First, dematerialising a work of art (how to expose?); second, burocrasy of the cultural environment with all consequences following from here (what for to expose?) and, at last, thirdly, loss by modern art language the basic characteristic, namely imagering (what to expose?).
First two of the listed problems do not lay in sphere of the competence of the author of these lines, let alone that dematerialisation of art space is objective process, connected with "virtualisation" (excuse for expression) sociocultural environments in modern "information society". Therefore it would be desirable to stop on a problem of crisis visuality in the modern fine arts. As deal with this problem within five years, I can share some achieved successes in considered area.
Not a secret, that we, unfortunately, practically have ceased to perceive the modern fine arts by eyes (we do not trust to the eyes). For process of perception of works of art (on a classical chain: eye - brain - heart) was complicated because of multilevel or multiple reflections so (it would not be desirable to mention thus "masters" of the cultural gamble meaningly even more confusing the spectator) skilfully using these objective complexity, that the visual information demands such complex preliminary mental decoding and analytical processing, that it appears not under force not only to the ordinary spectator, but also the majority of experts in the field of the fine arts. They start itself to feel completely helpless without verbal "helps" of the author which and in themselves for a long time have turned to independent object of the creativity, suffering whith all listed defects. Thus, even if the work of art carried any emotional charge, that, not reaching up to the spectator, it is safely get lost somewhere in deep departments of a cerebellum, or can be, even in spinal cord.
In this situation I find natural and logical present the offer: if we shall try to unit, as far as it is possible, first two links of a chain of perception, i.e. the EYE and the BRAIN, having transferred thus to an eye a significant part, so to say, brains, also we shall cause thus some kind of "clever eyes" if we can sublimate our sight and by that to facilitate and speed up the stopped way to heart (EYE - BRAIN - HEART) it will allow the sensual charge transmitted on this channel from a work of art to theheart of the spectator to not die out and will bring back plasticity to the fine arts. In another words , we should bring up in ourselves the certain device, allowing to improve our vision of direct essence of object of art through a deaf person cultural and pseudo-cultural stratifications. It is possible, having resorted to a metaphor to tell and differently: we should bring up in ourselves the device of the night vision allowing easily to distinguish a black cat in a dark room or, at least, to be convinced that it there is not present.
Gor Chahal. New York, 1995.