Philosophy and Conceptual Art by Peter Goldie, Elisabeth Schellekens

By Peter Goldie, Elisabeth Schellekens

The analytic philosophers writing the following have interaction with the cluster of philosophical questions raised via conceptual artwork. They tackle 4 extensive questions: what sort of paintings is conceptual paintings? What follows from the truth that conceptual artwork doesn't goal to have aesthetic worth? What wisdom or realizing will we achieve from conceptual paintings? How ought we to understand conceptual paintings?

Conceptual paintings, widely understood through the members as starting with Marcel Duchamp's ready-mades and as carrying on with past the Seventies to incorporate a few of today's modern paintings, is grounded within the idea that the artist's "idea" is significant to artwork, and, opposite to culture, that the fabric paintings is in no way necessary to the artwork as such. to exploit the phrases of the conceptual artist Sol LeWitt, "In conceptual paintings the belief of the idea that is crucial point of the paintings . . . and the execution is a perfunctory affair." Given this so-called "dematerialization" of the artwork item, the emphasis on cognitive worth, and the widespread attract philosophy through many conceptual artists, there are various questions which are raised via conceptual paintings that are supposed to be of curiosity to analytic philosophers. Why, then, has so little paintings been performed during this quarter? This quantity is most likely the 1st selection of papers via analytic philosophers tackling those matters head-on.

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Philosophy and Conceptual Art

The analytic philosophers writing the following interact with the cluster of philosophical questions raised by means of conceptual paintings. They handle 4 vast questions: what sort of artwork is conceptual artwork? What follows from the truth that conceptual paintings doesn't target to have aesthetic worth? What wisdom or realizing do we achieve from conceptual artwork?

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16 / On Perceiving Conceptual Art enough—the work is more contextualized than that. Like so many works of conceptual art there is salience in the vehicle—the sandwich board, the typeface—and perceiving the ensemble, however deliberately unaesthetic, and perceiving it as a work, are integral to the apprehension it demands. References Bochner, Mel, ‘Mel Bochner on Malevich: An Interview’ (with John Coplans), Artforum, 12/10 (June, 1974): 59–63. , The Well-Wrought Urn: Studies in the Structure of Poetry (London: Methuen, 1968), 157–75.

Modernism, and by extension traditional art forms, are on the side of illusion, lies, and obfuscation that stood opposed to clarity, objectivity, and truth. The politically aware felt that the Vietnam War, or rather the way the Vietnam War was presented, lay with the former. With modernism and traditional art ‘what you saw was not what you saw, but a whole lot more: the ideology of the culture then parading itself in Vietnam’ (Godfrey 1998: 112). This makes some sense as an explanation of events.

This raises the question of what the limits are through which something becomes art. At the beginning of this paper I alluded to the challenge made to the traditional concept of art by conceptual art, and the project of defending conceptual art through showing that it could provide aesthetic satisfaction. It is part of that project to argue that the limits through which something could become art are linked to the aesthetic: it is through showing that conceptual art provides some aesthetic satisfaction that we show that it is properly art.

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