If we think of artistic creation as a basic dimension of humanity we need to question the absence of female artists in history. We should also look at their gradual emergence in the late 20th century, an emergence that coincides with the feminist movement and a change in the conception of art itself, revealed chiefly by Duchamp. But does art by women have some specificity? Without giving a definite answer as far as subject matter is concerned, we note that the (...) conditions suited to both history and the history of art may affect their creation but without specifying it ontologically. If, moreover, some women artists define their work as feminist, it is through an act that combines artistic and political transgression. The exhibition currently arranged by the Georges Pompidou Centre, elles@ beaubourg, provides new resources for these complex questions. (shrink)

The Burghers of Calais (1895) by Auguste Rodin was originally commissioned by the city of Calais to celebrate a local hero. It then became part of the national culture of the Third Republic, and it can today be found all over the world. This article tells the story of how this statue came into being and also attempts to address the issue of why it has become so popular and why it seems to speak so directly to universalism. Apart from (...) the fact that The Burghers of Calais is an extremely well executed and very inspired piece of art, this monument, I argue, also has to have another quality in order to become so popular. This quality, I suggest, is related to a new way of understanding and depicting heroism. Rodin centered The Burghers of Calais around a modern version of heroism that can be termed ‘civic heroism’, which draws on the collective and civic courage of the average person ( Zivil-courage), rather than on the physical courage of the single and outstanding individual. Or, to put it differently, Rodin turned the statue into a democratic exemplum. (shrink)

Anselm Kiefer's project is it to evoke, and to distance, the mythifications of the national ‐past in order to make certain German artistic traditions fruitful once more. It is argued that he has succeeded in doing so with work creating a tension between the fascination for a taboo vision, denying identification through artistic means. Expressionist materiality, the figurative mode, woodcut, lyrical inscriptions, sculpture, bookmaking, original materials have been used in specific ways so as to create open‐ended works, confronting the viewer (...) with his/her conflicting feelings and allowing them to finalize the work. However, where an overbearing scepticism of modernity causes Kiefer to turn to myth for answers, he is prone to collapsing history with timeless truths, confounding artistic production and organicist creation, thus abolishing the boundaries of the work together with the possibility of dialogic exchange. (shrink)

Evidence evinced primarily from the visual arts suggests that the term `postmodernism' is unlikely to survive as a general description of contemporary culture beyond the year 2000. The concepts of both post-industrialism and postmodernism are examined as presented by six major writers. None makes a convincing case for the establishment of an historical disjunction that separates modernism from postmodernism either during the 1960s or at any other time. There is a need to recognize that the modernism of the late 19th (...) and early 20th century is no longer modern. It would be better described as the formalesque. This will make it possible to recognize the `postmodern' as the true modernism of the 20th century, the prime sources of which lie in Dada, surrealism and the Neue Sachlichkeit. (shrink)

ArgumentIn the winter of 1849–1850 in Königsberg, German physiologist Hermann von Helmholtz (1821–1894) conducted pioneering measurements concerning the propagation speed of stimulations in the living nerve. While recent historians of science have paid considerable attention to Helmholtz's uses of the graphic method, in particular his construction of an instrument called “myographion,” this paper draws attention to theinscription surfacesthat he used in effective ways for capturing and transmitting his findings. Against the background of recent archival findings, I show that Helmholtz used (...) isinglass copies of his graphical recordings in order to communicate the basic principle of previous measurements to the academic public. As the correspondence with his Berlin-based friend and colleague Emil du Bois-Reymond (1818–1896) and the subsequent development of the myographion make clear, these curves were not meant as measurements but functioned as demonstrations. In other words, Helmholtz's curves did provide “images of precision” (Olesko and Holmes 1993) – but they were not precise images. (shrink)

The absence of would-be palpable skills in contemporary and modern art has become a commonplace of both conservative and radical art-criticism. Indeed, these criticisms have tended to define where the critic stands in relation to the critique of authorship and the limits of ‘expression’ at the centre of the modernist experience. In this article, I am less interested in why these criticisms take the form they do – this is a matter for ideology-critique and the sociology of criticism and audiences (...) – than in the analysis of the radical transformation of conceptions in artistic skill and craft in the modern period. This will necessitate a focus on modernism and the avant-garde, and after, as it comes into alignment with, and retreat from, the modern forces of production and means of reproduction. Much, of course, has been written within the histories of modernism, and the histories of art since, on this process of confrontation and exchange – that is, between modern art’s perceived hard-won autonomy and the increasing alienation of the artist, and the reification of art under the new social and technological conditions of advanced capitalist competition – little, however, has been written on the transformed conditions and understanding of labour in the artwork itself. This is because so little art-history and art-criticism – certainly since the 1960s – has been framed explicitly within a labour-theory of culture: in what ways do artists labour, and how are these forms of labour indexed to art’s relationship to the development of general social technique? In this article, I look at the modern and contemporary dynamics of this question. (shrink)

This paper begins by examining a text in which one writer, Richard Ford, is discussing both the persona and the work of another writer, Raymond Carver. Ford''s positive reaction to Carver provides us with a puzzle as to what the basis for it is. I suggest that what he is really admiring is a kind of originality that he detects in Carver. I try to specify the constitutive rules for the generation of this form of originality. They seem to take (...) the form of at once being able to preserve what is valuable in existing material and yet managing to add what could be said to be missing. I then argue that, if Carver is doing this sort of work, so too is Ford. Having seen various examples of a kind of originality, I argue that the process we have been seeing might be formulated as the exercise of imagination, and address the issue of the possible significance of accomplishing such imaginative work. If, as many contemporary philosophers and workers in the human sciences have argued, there is no escape from the need for interpretation, there is a problem of what could ever be a satisfactory interpretation. I suggest that the idea or the possibility of an imaginative interpretation could be a way of providing such satisfaction. (shrink)

The essay aims to outline an epistemology of photography through the critical issues that arise from the encounter between photography and sculpture. In particular, it investigates the aesthetic and semiotic constraints that define the specificity of the photographic look with respect to a sculptural three-dimensional vision. The relationship between documentary and art photographs is the main area of research; specifically, the essay tries to highlight the interpretative value that can also be attributed to documentary photography, underlining the boundaries of a (...) complex distinction. A specific section is devoted to Medardo Rosso’s photographs of his own sculptures. Rosso’s work solicits a reflection on the status of photography and on some theoretical problems such as reproducibility, the relationship between original and copy, and the creative gap produced by variation in a series. The artist suggests a peculiar “grammar” of photography by virtue of his relationship with another art – sculpture. (shrink)

This essay considers the beginnings of the journal October's critical practice and the significance of a work by Michel Foucault: “Ceci n'est pas une pipe”.1 The theoretical issues/problematics raised by this essay became key to future debates in and around October; the essay becoming something of an emblematic means by which October might be distinguishing from other visual art critical practices. The importance of Foucault's text in relation to October was revealed during correspondences with Rosalind Krauss in August 2001. Foucault's (...) self-referential essay can be seen as crucial not only to Rosalind Krauss's intellectual development, but also to the continuing debate on the nature of text and image in which the journal would be involved. The spiralling interplay of Foucault's narrative, combined with Magritte's picture, might be interpreted as a metaphor for the mediations of post-structural visual criticism itself as its practitioners sought to institute language into the visual sign, a project that attempted to produce a theoretical rationale – and perhaps a justification – for images being treated as if they were texts; thus, paraphrasing Foucault, introducing into the plenitude of the image a certain disorder. Such a weaving together of representation and discourse is interpreted as the formation of a destabilizing dialectic, a dialectic that can be linked to the writings of October as it shifts its rhetorical locations in an attempt to break down the normative pictorial and discursive frames of reference; becoming in essence a dedisciplinary and de-formative critical practice. This essay provides an outline of the determining conditions that led to the development of this “linguistic turn” and an associated reflection on Foucault's text that seeks to direct attention specifically towards its semiotic and discursive implications in relation to the developing oeuvre of criticism exemplified by the magazine. The essay is supported by interviews with Rosalind Krauss and Douglas Crimp conducted by the author in March 2002. (shrink)

Through established modern theories of design thinking, the internalization of environmental design through studio education is fundamentally a construct of ego-centrism. This fact subsequently inhibits an intersubjective and discursive professional ethic. Alternatively, a pedagogy set within a construct of practical discourse could ground an ethical construction of practice which more accurately reflects the realities of intersubjectivity found in human learning, in the best possibilities of studio education, and in the discursive processes fundamental to environmental design in society.

In contrast to other approaches, `modernity' in this article is not dealt with as a historical concept but as a normative-aesthetic term and as a mythical narrative in the sense of Nietzsche's `eternal recurrence of the same'. Paradoxically, there still exists a semantic shift between different historical concepts of modernity beginning in late antiquity and the Middle Ages up to the present confusions about `postmodernity'. However, the aesthetical bias of the discourse of modernity prevents any serious interpretation which is able (...) to refer these semantic shifts directly to some clear and incontestable socio-structural facts and developments. In its contemporary sociological form this discourse overlaps on the contrary with some main trends in aesthetic theory and practice: the exchangeability between `old' and `new' and the permanent suspension of the boundaries between `art' and `life'. Consequently, aesthetics as well as sociology are describing modernity as a cultural system which is `playing' with its own fundamental differentiations between `in' and `out' or self-reference and other-reference. (shrink)

(1996). Photomechanical tendencies in Giorgio de Chirico's Melancholy vision. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the Study of European Ideas, pp. 1310-1315.

ArgumentThe discovery of the Alps in the second half of the eighteenth century spawned an aesthetics of sublimity that enabled overwhelmed beholders of mountains to overcome their confusion symbolically by transforming initial speechlessness into pictures and words. When travelers ceased to be content with beholding mountains, however, and began climbing them, the sublime shudder turned into something else. In the snowy heights, all attempts to master symbolically the challenging landscape was thwarted by vertigo, somnolence, and fatigue. After 1850, physiologists intervened, (...) using the Alpine terrain as a laboratory landscape that was ideally suited to examine one of the most threatening concerns offin de siècleindustrial societies: fatigue. This essay examines how the picturesque voyage turned into an experimental physiology of fatigue, and how the “wordless subjectivity” of romantic travelers turned into the “wordless objectivity” of life scientists. (shrink)

Kolb discusses postmodern architectural styles and theories within the context of philosophical ideas about modernism and postmodernism. He focuses on what it means to dwell in a world and within a history and to act from or against a tradition.

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

The thesis is a critical examination of Danto's philosophy of art. It begins with his article 'The Artworld' where he proposes a special is of artistic identification to distinguish artworks. Danto's idea of the artworld is discussed, a historical and contextual theory of art, which arose from his attempt to explain the difference between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld concept with the (...) special is. The technique of comparing indiscernible counterparts, from Danto's book The Transfiguration of the Commonplace, is examined. It is argued that the technique is philosophically redundant, but it is a redundant premise which has been added to a valid inference (Danto's historical and contextual view of art: his artworld theory) therefore, this does not make the original inference invalid. Danto's treatment of metaphor, expression, and style is shown to result in four claims. First, artworks embody rhetorical ellipsis. Second, artworks share features of metaphor: they are intensional (with an s) in structure and cannot be paraphrased. Third, a work of art expresses what it is a metaphor for by the way it depicts its subject. Fourth, artworks embody style. The conclusion, has two parts. The first part gives a summary of the criticism of Danto's theory of art: (1) there are logical inconsistencies in his concept of the is of artistic identification and in his use of indiscernible counterparts, (2) his theory suffers by being over-inclusive and (3) he uses circular arguments. The second part is based on a response to the criticism: it provides a definition of art. This has three elements. First, an argument is proposed for a spectrum of artistic presence in which all human activity and artefacts can be placed. Second, there is an acceptance of Danto's view of art (or artistic presence) being both intentional (with a t) and intensional (with an s); however, by applying these concepts to a spectrum, the problem of over-inclusiveness is avoided. Finally, it is argued there can he no wholly non-circular account of art. (shrink)