Having said that, the best way to learn to appreciate visual art is to learn to sketch. You don't have to become Leonardo, but simple observational drawing is a great way to train your eye and brain to see better and as a side benefit you will understand a lot of the language of art better.
Not the only way by any means. Reading art history, looking at paintings from different periods, reading articles on art theory can get you going too. Talk to other people about the stuff they like; especially the stuff that puzzles you. Don't automatically assume that they are "faking it" or "being pretentious", though they may; people are people. But if a lot of people are interested in something, there's often something worthwhile there.
If none of that appeals to you, and you just want a simple, visual experience, look at art, admire the stuff you like and ignore the stuff that leaves you cold. Looking at art is a lot like listening to music. It can be a deep, technical experience, or a simple, enjoyable way to pass time.
Is that really true? Because there seems to be an implicit hierarchy of art. It isn't all subjective, otherwise art critics would be out of work.
>Having said that, the best way to learn to appreciate visual art is to learn to sketch.
I'm not knocking visual art, in general. I'm a terrible painter, so I can certainly appreciate the tremendous skill and talent it requires to create a masterpieces. What I'm referring to is art that seems to be art, only because other say it's art. In the article, there's a photograph of a woman sitting in a lawn chair. Why is that art and a random photo of me doing the same thing, not?
My reaction upon seeing something like the lawn chair piece would not be to automatically reject, but instead it would be an increase in curiosity. Why is that woman sitting in the chair? Why is it happening in this venue? Why should I care? An artist is usually trying to evoke a response of some kind. WTF is a perfectly good response to get someone's attention. From most artists point of view, the worst possible reaction is indifference.
If I have any criticism about modern art is that the ideas often really aren't that new anymore; the vein has been mined pretty extensively. Doesn't mean the art isn't any good, or that it has nothing to say, just that the term "modern" has simply become another label for particularly type of movement that doesn't connect with its original meaning.
Languages change too ...
Labels, like "art" are human conventions. They are useful in the sense that they can communicate or convince. If you feel good about not calling a work "art", rejoice. But don't be surprised when other people who dig deeper might occasionally find something of note.
Sculpture professor whose class I modelled for: "Most people are going to completely ignore your work [that you spent weeks on, had your ego destroyed by peer criticism, fixed, put your soul into, etc] -- or look at it for about three seconds before moving on. If you can hold their attention longer -- if you can make them pause for an extra five seconds, and notice, or feel something, then you've succeeded." (He said this to students, not pre-acclaimed people whose work you're supposed to like because it has their name attached.)
Relatedly: If you can enrol in an art class (eg basic figurative drawing) it's a great growth experience. You'll also see what I saw: many levels of skill, an array of typical growth-paths, how artists are trained to conceive of their compositions (or of the human body), how very skilled kids can create something accurate-in-detail but totally uninteresting, and so on.
What's the difference between hearing a bunch of squealing and noise and ugly chords (=jazz) as a kid versus knowing how to play horn and wondering how jazz greats composed the atoms they did? (eg "abrupt, dramatic use of silence" by Thelonious Monk -- "how can you abruptly PAUSE?" you say) -- how a human might develop to the point (other than pure trolling) that they conceive of that composition. Not to mention a lot of technical details like what's easy/hard to do with a brush/chalk/charcoal/yarn/limestone/camera.
Certainly some people play games with an open-minded (=gullible), trusting audience (of potential buyers). http://www.youtube.com/watch?v=N0NIs1fOkQg There's still plenty of great, subtle modern art that a 10-year-old would not appreciate but a 40-year-old could.
I think something equivalent could be said for programming (journey from modifying a script that already works to understanding the atoms of the language) and there's some close-enough statement that could be made for painting / visual art. The journey from imitation to atom-by-atom originality.
Other kinds of art are no different. Heck, most interesting things are no different. Try listing criteria to distinguish a good programming language from a bad one and see how many people you can get to agree with you.
Coincidentally I watched two docs recently that touch on the topic of what "modern art". "Exit through the Gift Shop" and "Who the #$&% Is Jackson Pollock?", both were pretty good.
Taking your Obfuscated C contests as an example, even if the source files look like gibberish to your average citizen (or average programmer), you could at least explain why it's special. And it wouldn't be that hard to see, for anyone, why creating a winning entry takes a lot of technical skill and creativity and that not just anyone could do it.