Monday, April 6, 2009

Rosalind Krauss: LeWitt In Progress

Rosalind Krauss talks about how Suzi Gablik relates the history of art to the human development. Gablik breaks art into three categories: visual representation, mastery of perspective, and abstraction. She says that abstraction is the most complex and most complete development in art, but I wonder if art can be reasoned in this way to say that visual representation is less intellectual than abstract art. I don't think abstract art is a more complex progression rather that it is different in technique and opposes the art era before them. All art cannot be easily put into these three categories and conform to this "human development" idea.    

In the beginning of Krauss' article, she seems to relate LeWitt's art to math and how his 122 Variations of Incomplete Open Cubes seem to represent "the illustration of Mind [and] the demonstration of rationalism itself". But later she says that it cannot be related to an algebraic expression because it does not summarize with the first couple of terms, rather it is "composed of a string of almost identical details, connected by 'and'. She also says that the work "counters 'the look of thought,' particularly if thought is understood as classical expression of logic.'" Is she saying that if logic follows algebraic expression and LeWitt's work does not reflect an expression, then it does not illustrate the rationalization of the mind? How come I still see the work as a series? It has a pattern yet it is random in the fact that you don't know what the next variation is going to be, but an idea that it will look like a cube.

LeWitt in Progress

Q1. LeWitt is interested in the "extraordinary performance of thinking" much like the story of the stones and the grey coat, but how is the thought process that goes into LeWitt's artwork any different from looking at any other type of artwork? Isn't all art supposed to provoke "thoughts" and stimulate the mind?( 609)

Q2. After reading the article, I still don't fully understand the point of the stones and grey coat story? It just seems to serve the purpose of an ordinary riddle or folktale of some sort.

Thursday, April 2, 2009

Conceptual Art

Question 1: "Works of art are analytic propositions. that is, if viewed within their context-as-art, they provide no information what-so-ever about any matter of fact. A work of art is a tautology in that it is a presentation of the artist's intention, that is, he is saying that that particular work of art is art, which means, is a definition of art. Thus, that it is art is true." "If someone calls it art, it's art" (595). I thought this was interesting, and would like to discuss this more, is it really, if someone calls it art, it's art? People need to see something as art to look for the meaning behind it or else the meaning is lost. What if people don't care or choose not to see it as art? Is it still art?

Question 2: I don't understand the part about how the visual part of conceptual art is illegitimate. Isn't that part of the art? The conceptual part of the art is important but the visual part is how we get to the conceptual part, so how is it illegitimate. This confused me.

Conceptual Art

1) One relationship that is brought up in the reading multiple times is the connection (or lack there of) between language and visual qualities. This connection, however, seemed to change every other page, and I am confused as to the significance. What is the relationship between language and the visual aspects of conceptual art that Buchloh and others refer to? Does the visual identify the linguistic entity? Is it the other way around? What is the structure of these two properties in this context?

2) In the section on Joseph Kosuth's Tautologies, it is mentioned in a quote that works of art are analytic and provide no information what-so-ever about any matter of fact (595). Then later on in the reading in the section on A Tale of Many Squares it says that the aim of the artist would be to gibe viewers information (599). Doesn't this seem to contradict the goals of conceptual art? Or is there a distinction between what they mean by information through the art vs. information through the artist?

Buchloh

Q1: Overall, I think this article would have been much less confusing if we knew the differences (and similarities) between the styles and eras of art that are discussed, such as post-minimalism v minimalism v Dadaism, or pop art v plastic art, as well as the artists mentioned and where they fall. Do all of the artists and eras discussed fall under the category of "Conceptual Art"?

Q2: As much as the "if someone calls it art, it's art" (523) concept would be nice for the "artist" at least, it also seems like it has the potential to create lots of problems. Also, there isn't much power in this unless other people recognize it as art as well, and this probably wouldn't happen unless you were rich or already famous and had some sort of connections to the art world. What's the point of pieces like Duchamp's "Fountain," which is an example of this concept? If someone decided to pee on a fence and called that fence a work of art, no one would care. So, what is Duchamp trying to say with this work and the idea behind it?

Conceptual Art

1. Buchloh claims that conceptual art "prohibits any and all visuality" from the artwork, but he then talks about different ways in which how the visual is illegitimate. I don't understand that when you are looking at an artwork which is in front of you, how can the visual part of it be illegitimate? I thought it is the visuality that makes the art becomes important.

2. Buchloh also states that Pop Art and Minimalism give aesthetic values in terms of consumption and production to substitute the typical formalism and referentially. I don't understand the concept of “formalism” here, and what is the relationship between it and referentially during 1960's?

Buchloh: Conceptual Art

I had a lot of trouble reading this article. Most of it didn't make any sense to me until "A tale of many squares", where it still didn't make complete sense :(

Q1: On page 596, Buchloh says that "the square painting paradoxically but inevitbly assumes the character of a relief/object situated in actual space." Why is this paradoxical? What else would the painting assume?

Q2: On page 597 Buchloh discusses "wall" and "carpet" referring to painting and sculpture. He says that "neither one of these surfaces could ever be considered to be independent from its institutional location." Why can't it be? Can't a painting or sculpture stand alone and still have meaning?