The paper focuses on explaining why today (conceptual) and post-conceptual art practices generated from specific theories during the 1960s and 1970s would precipitate the need for the decline of philosophical aesthetics in discussing today’s contemporary art. Today, since “aesthetic experience is to be conceived as conforming to the ruling cultural ideology” much of the “visual turn”, would derive from street artists, sub-cultures and darker cultures who, rebellious by nature use (conceptual) and post-conceptual art practices, which increasingly produce theoretical positions, which contribute to the discursive paradigms adopted by today’s theoreticians of visual culture.
Also contributing to the “visual turn”, is the active role played by gallery audiences who help to produce the meaning of the work itself—their role now has largely changed from passive contemplation to active participation. The paper defines why the preponderance of perspectives accumulated today (used by theoreticians of visual culture) informed by the artist’s intention as a new theory in itself and the audience as “participant” is currently outweighing the significance of aesthetic theory. In the paper, I define and evaluate why philosophical aesthetics is no longer being seen as necessary to provide critical reflection of new media, post-conceptual art practices and the digital revolution.
Inhaltsverzeichnis (Table of Contents)
- I. Today's post-conceptual practices: relating to the current aesthetic dimensions of visual culture
- II. The Previous Aesthetic Dimensions of Visual Culture
- III. Addressing the authority of the past: defining conceptual and post-conceptual practices from the 1960s to the present
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper aims to explain the decline of philosophical aesthetics in contemporary art discussions, focusing on conceptual and post-conceptual art practices that emerged from the 1960s and 1970s. It examines how these practices, influenced by a shift away from the idea that aesthetic experience conforms to dominant ideology, have contributed to a "visual turn" in art theory.
- The shift from passive contemplation to active audience participation in shaping the meaning of art.
- The impact of conceptual and post-conceptual art practices on traditional aesthetic theory.
- The role of artists' intentions and audience interpretation in contemporary art criticism.
- The evolving relationship between art, technology, and the digital revolution.
- A comparison of traditional and contemporary approaches to art criticism and aesthetics.
Zusammenfassung der Kapitel (Chapter Summaries)
I. Today's post-conceptual practices: relating to the current aesthetic dimensions of visual culture: This chapter explores the broadening scope of contemporary art criticism and the rise of a "visual turn." It argues that contemporary artists, using conceptual and post-conceptual practices, challenge traditional aesthetic criteria and generate theoretical positions that influence contemporary visual culture theorists. The chapter highlights the active role of gallery audiences in meaning-making and the resulting multiplicity of interpretations, posing challenges to traditional philosophical aesthetics. Examples of artists like Joshua Yeldum, who integrates music and audience participation, and Jackson Slattery, who blends photography and painting, are discussed, showcasing how these artists transcend traditional boundaries. The chapter also mentions Magda Sayeg, whose knitting graffiti pushes the boundaries between traditional crafts and contemporary art, further highlighting the diversity and boundary-pushing nature of contemporary artistic practices.
II. The Previous Aesthetic Dimensions of Visual Culture: This chapter contrasts contemporary art practices with those of previous eras. It traces the historical evolution of aesthetic perceptions from ancient Greece to the early 20th century, emphasizing the emphasis on conventional beauty, perfection, coherence, and the unity of form and content. The chapter analyzes the Enlightenment period’s influence on art theory, where aesthetic quality was largely measured by adherence to classical ideals of beauty and a limited, self-contained work. It connects these historical perspectives to the institutional settings like the Louvre, and the conventions of viewing art from a critical distance, comparing them to the modern viewer's active participation. The influence of Romanticism, with its focus on nature and the sublime, is also examined, showcasing how the concept of awe-inspired observation of nature informed artistic creation and viewing practices. This section sets the stage for the later chapters' examination of the significant break from these established practices.
III. Addressing the authority of the past: defining conceptual and post-conceptual practices from the 1960s to the present: This chapter discusses the significant shift in art practices and theory during the 1960s and 70s, a period that witnessed a dismantling of traditional aesthetic conventions. The chapter highlights the decline of traditional painting and sculpture and the emergence of new artistic forms. The author touches upon the cultural changes that facilitated this shift. This incomplete chapter sets up the contrast with the earlier chapters and implies a broader discussion of the factors that led to the shift in the definition and practice of art. While the provided text only offers a starting point, it clearly indicates an intention to analyze the significant break from the traditional aesthetic dimensions discussed earlier.
Schlüsselwörter (Keywords)
Conceptual art, Post-conceptual art, Aesthetic theory, Visual culture, Audience participation, Contemporary art criticism, Traditional aesthetics, Art history, Digital revolution, Modern art.
Frequently Asked Questions: A Comprehensive Language Preview of Conceptual and Post-Conceptual Art Practices
What is the main focus of this text?
This text provides a comprehensive overview of conceptual and post-conceptual art practices from the 1960s to the present, examining their impact on aesthetic theory and visual culture. It explores the shift from traditional aesthetic ideals to contemporary approaches that emphasize audience participation and challenge established conventions.
What are the key themes explored in the text?
Key themes include the decline of philosophical aesthetics in contemporary art discussions; the shift from passive contemplation to active audience participation; the impact of conceptual and post-conceptual art on traditional aesthetic theory; the role of artists' intentions and audience interpretation; the evolving relationship between art, technology, and the digital revolution; and a comparison of traditional and contemporary approaches to art criticism and aesthetics.
What are the main chapters and their respective content?
Chapter I: Today's post-conceptual practices explores the broadening scope of contemporary art criticism and the rise of a "visual turn," analyzing how contemporary artists challenge traditional aesthetic criteria. It features examples of artists like Joshua Yeldum, Jackson Slattery, and Magda Sayeg. Chapter II: The Previous Aesthetic Dimensions of Visual Culture contrasts contemporary art with earlier eras, tracing the historical evolution of aesthetic perceptions from ancient Greece to the early 20th century, highlighting the emphasis on conventional beauty and the influence of the Enlightenment and Romanticism. Chapter III: Addressing the authority of the past discusses the significant shift in art practices and theory during the 1960s and 70s, highlighting the decline of traditional forms and the emergence of new artistic expressions.
What are the objectives of this paper?
The paper aims to explain the decline of philosophical aesthetics in contemporary art discussions, focusing on conceptual and post-conceptual art practices that emerged from the 1960s and 1970s. It examines how these practices have contributed to a "visual turn" in art theory.
What are some key examples of artists mentioned in the text?
The text mentions Joshua Yeldum (integrating music and audience participation), Jackson Slattery (blending photography and painting), and Magda Sayeg (knitting graffiti), as examples of artists who push the boundaries of traditional art forms and engage actively with their audiences.
What are the key words associated with this text?
Key words include Conceptual art, Post-conceptual art, Aesthetic theory, Visual culture, Audience participation, Contemporary art criticism, Traditional aesthetics, Art history, Digital revolution, and Modern art.
What is the overall conclusion or argument of the text?
The text argues that conceptual and post-conceptual art practices have significantly impacted contemporary art criticism and visual culture. It demonstrates a clear shift from traditional aesthetic standards and emphasizes the active role of the audience in shaping meaning, thus challenging traditional philosophical aesthetics.
Who is the intended audience for this text?
The intended audience is likely academics and students interested in contemporary art, art history, aesthetic theory, and visual culture. The structured format and comprehensive overview suggest a focus on academic use.
- Quote paper
- PhD, BA Hons. Cyrus Manasseh (Author), 2010, Art without the Aesthetics. Defining Conceptual and Post-Conceptual Art Practices in 2010, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/426708