“Sculpture in the Age of Doubt, by Thomas McEvilley, 1999. Chapter 2 Summary
The descriptive word of “post-war” in the 1980s, slowly led into the idea of being “post-modern”, “post-human” – post-everything, disconnecting from its predecessors .
At the proclaimed end of the Kantian tradition, which valued form over content, the previous taboos of the old art school declared their spots in the newly opened field, becoming the exact opposite of what art had been before. This created fresh opportunities for the experiences that the previous age had avoided.
In Kantian terms, there are two roots of style: the visual/internal root, which is the link with previous art and aesthetics, and the social/external root which is the link to surrounding culture, such as social, ethnical, and political issues. Contrary to the past, the roles of the roots were now reversed in the new art age and the content of the social root took dominance over visual style. In other words, variety in style took over the unified body of an individual artwork and the category it belonged to.
Before, art was a quest to reflect the soul, portrayed by the physical perfection of the human form and flawless representation of the environment mastered by the Greeks, eventually evolving into pure abstraction of the soul directly in non-human form, until the World Wars happened. The destruction of the world was reflected in the changed views that art took – rejection of the tradition of the soul in artwork in the guise of soulless objects, slowly growing into deconstructiveness, or anti-art.
Even though painting and sculpture have similar principles, painting was considered more elite by the Greeks due to the manual labour sculpture involves, and this sentiment was passed on until the new age of doubt. The representational illusion gave way to the material presence of sculpture, aka “escapist fantasy versus directly dealing with the real world.” The two fields started to form separate ideologies with the arrival of anti-art. While the anti-art version of painting was going against the aesthetics of traditional painting, Duchamp's readymades are an example of the anti-art form of sculpture – instead of representing something, anti-art presented unpretentious objects that were nothing but themselves.
While the nature of paintings was limited to being only a picture of something, sculpture expanded to the possibility of being any “thing” as long as a label or designation is attached to it, as declared by Duchamp, to the extent that it can even be immaterial. This ideology has the upper hand where you could regard a painting as a sculpture, but not vice versa, and thus, in the author's eyes, the primary medium in the new age of doubt.
Thoughts % discussion questions:
To me, art is a reflection of our thoughts and a peek inside the soul of the artist, and based on the reading, this is an old school's traditional view. Personally I lean more towards old school thinking, in terms of aesthetics as well. What does art mean to you?
Would you consider our current generation as still post-modern, or have we moved on to an age of certainty without realizing it?
If a soulless object is declared as art, does it still hold as much meaning as an artwork with “soul”?
Wednesday, September 29, 2010
Chapter 1 Summary
“Sculpture in the Age of Doubt, by Thomas McEvilley, 1999. Chapter 1 Summary
In order to explain the difference in schools of thought between Modernism & Post-modernism, Thomas McEvilley used various examples of how ages of certainty alternate with periods of doubt throughout history, especially so in the Western culture.
The Great doubt, supported by groups such as the Greek school of skepticism and Buddhist Madyamika, is the positive view and belief in questioning the reality of everything, and as a result, free their minds from this world and find inner awakening/awareness of consciousness in a boundless realm with “no assumptions”. This idea is key to two ancient Greek philosophical groups, the Academics and the Pyrrhonists. While the Academics outrightly rejected all views and declared them as false, the Pyrrhonists simply suspended judgement by not declaring if something was for real or untrue. Everything is subject to a rational doubt. McEvilley mentions the Pyrrhonists many times throughout the chapter.
In great contrast, the search for certainty comes in many forms via religion such as Christianity and Islam, political thinking like the ideals of Democracy, or the scientific view as demonstrated by mathematical calculations and the observation of nature – the common factor in these ideologies is that they believe themselves to be the eternal truth, presuming themselves to have existed forever, and take turns to dominate the world. These ages of certainty always exaggerate the duration of their existence through the denial that their end is approaching, and when it finally does end, it comes as a surprise, followed previously by short periods of doubt. These can be seen in the examples of the Renaissance and Eurocentrism, where countries seek to be the ultimate ruler and invade other countries, ultimately leading to the World Wars.
At the end of World War II, as European colonies started to withdraw and the Western dream of “desirable culmination” which had turned into a nightmare came to an end, Modernism ceased to be, and a new age of doubt, Post-Modernism, quietly began. Despite the difference in technology and times, the underlying ideals of post-Modernism are highly similar to the reaction of turn in events at the end of period of certainty.
However, the theory that post-modernism is a derivation of skeptical thinking from a revival of ancient times is unacknowledged by the thinkers themselves, who are more interested in emphasizing the impression of innovation and undoubtedly the globalization of previous colonies, previously silenced through colonization, now turned into independent producers and exported manufacturers with voices. The first signs of doubt in art history occurred when the world was going through destruction, and full awareness of doubt blossomed in 1980s. In the eyes of a Modernist, this new anti-art seems to be the end of “real” art, but it has developed its own aesthetic form.
Thoughts & discussion questions:
Although I had to read through the text several times before I could fully comprehend the meaning, this chapter helped me to grasp the sentiments of the art movements mentioned.
The ages of certainty brought about great masterpieces based on aesthetic guides that work universally, while ages of doubt allows one to go in any other direction.
If you were to choose between a world of unity or pure freedom, which would you choose, and why?
What is considered aesthetically beautiful in a post-modern context?
In order to explain the difference in schools of thought between Modernism & Post-modernism, Thomas McEvilley used various examples of how ages of certainty alternate with periods of doubt throughout history, especially so in the Western culture.
The Great doubt, supported by groups such as the Greek school of skepticism and Buddhist Madyamika, is the positive view and belief in questioning the reality of everything, and as a result, free their minds from this world and find inner awakening/awareness of consciousness in a boundless realm with “no assumptions”. This idea is key to two ancient Greek philosophical groups, the Academics and the Pyrrhonists. While the Academics outrightly rejected all views and declared them as false, the Pyrrhonists simply suspended judgement by not declaring if something was for real or untrue. Everything is subject to a rational doubt. McEvilley mentions the Pyrrhonists many times throughout the chapter.
In great contrast, the search for certainty comes in many forms via religion such as Christianity and Islam, political thinking like the ideals of Democracy, or the scientific view as demonstrated by mathematical calculations and the observation of nature – the common factor in these ideologies is that they believe themselves to be the eternal truth, presuming themselves to have existed forever, and take turns to dominate the world. These ages of certainty always exaggerate the duration of their existence through the denial that their end is approaching, and when it finally does end, it comes as a surprise, followed previously by short periods of doubt. These can be seen in the examples of the Renaissance and Eurocentrism, where countries seek to be the ultimate ruler and invade other countries, ultimately leading to the World Wars.
At the end of World War II, as European colonies started to withdraw and the Western dream of “desirable culmination” which had turned into a nightmare came to an end, Modernism ceased to be, and a new age of doubt, Post-Modernism, quietly began. Despite the difference in technology and times, the underlying ideals of post-Modernism are highly similar to the reaction of turn in events at the end of period of certainty.
However, the theory that post-modernism is a derivation of skeptical thinking from a revival of ancient times is unacknowledged by the thinkers themselves, who are more interested in emphasizing the impression of innovation and undoubtedly the globalization of previous colonies, previously silenced through colonization, now turned into independent producers and exported manufacturers with voices. The first signs of doubt in art history occurred when the world was going through destruction, and full awareness of doubt blossomed in 1980s. In the eyes of a Modernist, this new anti-art seems to be the end of “real” art, but it has developed its own aesthetic form.
Thoughts & discussion questions:
Although I had to read through the text several times before I could fully comprehend the meaning, this chapter helped me to grasp the sentiments of the art movements mentioned.
The ages of certainty brought about great masterpieces based on aesthetic guides that work universally, while ages of doubt allows one to go in any other direction.
If you were to choose between a world of unity or pure freedom, which would you choose, and why?
What is considered aesthetically beautiful in a post-modern context?
Saturday, September 11, 2010
Metal Sculpture Research
25 Metal Sculptures: Sculptures that inspire and use metal as the main element or use a contrast of hard and soft. (in random order of like)
1. Drew Flaherty, Gargoyle, year unknown
http://www.drewflaherty.com/home.html
What I Like (WIL): I am a big fan of Steam-punk items and art that makes use of found objects to create something else.
2. Larry Griffis, Flame Blossom
http://www.larrygriffis.com/abstract.php
WIL: The design is simple, and the intertwining gives it an organic feel which adds a certain softness.
3.Robert Sanarbria, Double eagle
http://www.sanabriastudios.com/copper.html
WIL: The way the metal swirls upwards gives the impression of fluids and a rather graceful movement. The way the strips are held together creates a wave-like texture as well. Such pieces make me feel awe for the metal element and its ability to depict the other elements.
4.David Boyajian, Aegean Urns, 2003
http://www.davidboyajian.com/BLOWUPS/CORPORATE/AEGEANURNSPEOPLE.htm
WIL: The sculpture looks like it just landed/about to take off, due to the positioning of the long wings. This captures the piece in an elegant moment of movement. The material used for the wings also suits the piece very well as it gives an ethereal feeling. Also, it reminds me of a giant snitch (item from Harry Potter's world) and that amuses me.
5.Loreen Senge, Large Wave
http://www.seabik.com/
WIL: The colorful streaks of metal gives the artwork a soft kind of texture while implying the flow of the wave at the same time. The intricate details on the tip of the wave are like the shadow of leaves and it is random and precise at the same time.
6.David Boyajian, Silver Lining, 2006
http://www.davidboyajian.com/BLOWUPS/OUTDOOR/SILVERLINING.htm
WIL: The thin metal supports gives the impression that it is light and soft like a ball of clouds, and I believe it would be lovely to see it move.
7.Lawrence Argent, Mam, 2005
http://www.lawrenceargent.com/
WIL: Poking holes into the organic shape reminds me of a sponge or coral. I like the way the artist gave soft edges to the shape of the sculpture, it seems nice and smooth like a pebble.
8.Martha Walker, Aphrodite, 2001
http://www.marthawalker.net/gallery_aphrodite.php
WIL: Love how the mass of flowy, intricate webs gathers up into a ball, and the liquid nature of the form.
9.Martha Walker, Rise & Fall, 2008-2009
http://www.marthawalker.net/gallery_rise_and_fall.php
WIL: The dulating forms like cloth and waves growing bigger and moving forward but frozen in time.
10.Martha Walker, Sprouting, 2007
http://www.marthawalker.net/gallery_sprouting.php
WIL: Again, the organic structure of something growing from the core appeals to me.
11.Martha Walker, the end justifies the means, 2008-2009
WIL: This one got me a little confused. I like the form but I did not realize what it represented until I was typing this post... go figure it out yourself. I like that the title could go on both ways or forever.
12. YuYu Yang, Deer & Fawn, unknown
WIL: The elegant form of the deer being expressed through wire structures looks simple.
13.YuYu Yang, Renewal, unknown
http://www.yuyuyang.com/stainlesssteelsculpture.html
WIL: The sleek and shiny properties of metal are showcased in this elegant piece and emphasizes the natural beauty of curves and spheres.
14.YuYuYang, Advent of the Red Phoenix, unknown
http://www.asiaartcenter.org/e_index.php?page=exhib&exhibno=56
WIL: even without seeing the title, I could tell at a glance that the sculpture was of a Phoenix. I love the simple strokes used to convey the idea so clearly.
15. Master Chen, Sphere, unknown
http://www.sculptura.com/gallery.php
WIL: creates a translucent effect, and the illusion that it is light and somewhat magical.
16. John Searls, Mobius, unknown
http://www.metal-art-sculptures.johnsearles.com/steel-mobius1-sculptures.html
WIL: The metal dances in the air like a soft ribbon, flowing in and out together in unison.
17. Jeff DeBoer, Cyclone, 2006
http://jeffdeboer.com/Galleries/LargeScaleWork/tabid/61/moduleid/389/viewkey/photo/photoid/252/Default.aspx
WIL: The gracefulness and strength depicted in the horse is brought out in the pose.
18. James Surls, Eye Flower
WIL: The clever use of the almond eye shape as leaves, somehow reminds us that plants are also living things. Not sure if they have souls, but are certainly always there... Also reminds me of peacocks and a character from the japanese anime Soul Eater.
19. James Surls, Bridge & Needle, 2002
http://www.jamessurls.com/#a=0&at=0&mi=2&pt=1&pi=10000&s=2&p=4
WIL: The effect that the shadows cast on the wall are a reminder of keeping in mind that sculptures are not just about the physical form itself, but how it affects the environment as well.
20. James Surls, All Diamonds, 2006
http://www.jamessurls.com/#a=0&at=0&mi=2&pt=1&pi=10000&s=0&p=4
WIL: Cool looking sentiniel-like diamond creature!
21. Stéphane Halleux, Untitled, Unknown
http://beinart.org/artists/stephane-halleux/?GID=799
WIL: Robots with curious workings and details are wonderful things to explore, especially how they work.
22. Unknown, IDF bunker at the top of Mount Ben Tal overlooking Syria, Tiberias and the North (Golan Heights)
http://www.travelpod.com/travel-blog-entries/madman96/1/1200448440/tpod.html#_
WIL: The sculptures are made of scrap metal, they are fun art works that brings smiles to people's faces.
23. Fletcher Benton, Folded Circle Wedge Arc, 2008
24. Fletcher Benton, Broken Circle No.16, 2005
http://www.fletcherbenton.com/gallery.html
WIL: like musical box component, lyrical arrangment
25. Eileen Shahbazian, Outcrop,
http://www.essculpture.net/Bronze.html
WIL: the color on the bronze suits the title of the artwork very much as it sounds related to plants, or can even be seen as a heart. “Protruding through their bulbous pod, three tubular shoots sprout off in all directions. Like a seedling bursting forth in spring or a heart, thumping away with the help of its supporting arteries, "Outcrop" reflects on the ways in which nature can be both organized and sporadic, seemingly random yet intensely functional.”
These last 2 pictures I am not sure who the artist is, or if it can be considered the kind of metal sculpture we should be looking at for the assignment. Nonetheless it is metal, and inspires me as well. :D
whooopee!
1. Drew Flaherty, Gargoyle, year unknown
http://www.drewflaherty.com/home.html
What I Like (WIL): I am a big fan of Steam-punk items and art that makes use of found objects to create something else.2. Larry Griffis, Flame Blossom
http://www.larrygriffis.com/abstract.php
WIL: The design is simple, and the intertwining gives it an organic feel which adds a certain softness.3.Robert Sanarbria, Double eagle
http://www.sanabriastudios.com/copper.html
WIL: The way the metal swirls upwards gives the impression of fluids and a rather graceful movement. The way the strips are held together creates a wave-like texture as well. Such pieces make me feel awe for the metal element and its ability to depict the other elements.4.David Boyajian, Aegean Urns, 2003
http://www.davidboyajian.com/BLOWUPS/CORPORATE/AEGEANURNSPEOPLE.htm
WIL: The sculpture looks like it just landed/about to take off, due to the positioning of the long wings. This captures the piece in an elegant moment of movement. The material used for the wings also suits the piece very well as it gives an ethereal feeling. Also, it reminds me of a giant snitch (item from Harry Potter's world) and that amuses me.5.Loreen Senge, Large Wave
http://www.seabik.com/
WIL: The colorful streaks of metal gives the artwork a soft kind of texture while implying the flow of the wave at the same time. The intricate details on the tip of the wave are like the shadow of leaves and it is random and precise at the same time.6.David Boyajian, Silver Lining, 2006
http://www.davidboyajian.com/BLOWUPS/OUTDOOR/SILVERLINING.htm
WIL: The thin metal supports gives the impression that it is light and soft like a ball of clouds, and I believe it would be lovely to see it move.7.Lawrence Argent, Mam, 2005
http://www.lawrenceargent.com/
WIL: Poking holes into the organic shape reminds me of a sponge or coral. I like the way the artist gave soft edges to the shape of the sculpture, it seems nice and smooth like a pebble.8.Martha Walker, Aphrodite, 2001
http://www.marthawalker.net/gallery_aphrodite.php
WIL: Love how the mass of flowy, intricate webs gathers up into a ball, and the liquid nature of the form.9.Martha Walker, Rise & Fall, 2008-2009
http://www.marthawalker.net/gallery_rise_and_fall.php
WIL: The dulating forms like cloth and waves growing bigger and moving forward but frozen in time.10.Martha Walker, Sprouting, 2007
http://www.marthawalker.net/gallery_sprouting.php
WIL: Again, the organic structure of something growing from the core appeals to me.11.Martha Walker, the end justifies the means, 2008-2009
WIL: This one got me a little confused. I like the form but I did not realize what it represented until I was typing this post... go figure it out yourself. I like that the title could go on both ways or forever.12. YuYu Yang, Deer & Fawn, unknown
WIL: The elegant form of the deer being expressed through wire structures looks simple.13.YuYu Yang, Renewal, unknown
http://www.yuyuyang.com/stainlesssteelsculpture.html
WIL: The sleek and shiny properties of metal are showcased in this elegant piece and emphasizes the natural beauty of curves and spheres.14.YuYuYang, Advent of the Red Phoenix, unknown
http://www.asiaartcenter.org/e_index.php?page=exhib&exhibno=56
WIL: even without seeing the title, I could tell at a glance that the sculpture was of a Phoenix. I love the simple strokes used to convey the idea so clearly.15. Master Chen, Sphere, unknown
http://www.sculptura.com/gallery.php
WIL: creates a translucent effect, and the illusion that it is light and somewhat magical.16. John Searls, Mobius, unknown
http://www.metal-art-sculptures.johnsearles.com/steel-mobius1-sculptures.html
WIL: The metal dances in the air like a soft ribbon, flowing in and out together in unison.17. Jeff DeBoer, Cyclone, 2006
http://jeffdeboer.com/Galleries/LargeScaleWork/tabid/61/moduleid/389/viewkey/photo/photoid/252/Default.aspx
WIL: The gracefulness and strength depicted in the horse is brought out in the pose.18. James Surls, Eye Flower
WIL: The clever use of the almond eye shape as leaves, somehow reminds us that plants are also living things. Not sure if they have souls, but are certainly always there... Also reminds me of peacocks and a character from the japanese anime Soul Eater.
19. James Surls, Bridge & Needle, 2002
http://www.jamessurls.com/#a=0&at=0&mi=2&pt=1&pi=10000&s=2&p=4
WIL: The effect that the shadows cast on the wall are a reminder of keeping in mind that sculptures are not just about the physical form itself, but how it affects the environment as well.20. James Surls, All Diamonds, 2006
http://www.jamessurls.com/#a=0&at=0&mi=2&pt=1&pi=10000&s=0&p=4
WIL: Cool looking sentiniel-like diamond creature!21. Stéphane Halleux, Untitled, Unknown
http://beinart.org/artists/stephane-halleux/?GID=799
WIL: Robots with curious workings and details are wonderful things to explore, especially how they work.22. Unknown, IDF bunker at the top of Mount Ben Tal overlooking Syria, Tiberias and the North (Golan Heights)
http://www.travelpod.com/travel-blog-entries/madman96/1/1200448440/tpod.html#_
WIL: The sculptures are made of scrap metal, they are fun art works that brings smiles to people's faces.23. Fletcher Benton, Folded Circle Wedge Arc, 2008
24. Fletcher Benton, Broken Circle No.16, 2005
http://www.fletcherbenton.com/gallery.html
WIL: like musical box component, lyrical arrangment25. Eileen Shahbazian, Outcrop,
http://www.essculpture.net/Bronze.html
WIL: the color on the bronze suits the title of the artwork very much as it sounds related to plants, or can even be seen as a heart. “Protruding through their bulbous pod, three tubular shoots sprout off in all directions. Like a seedling bursting forth in spring or a heart, thumping away with the help of its supporting arteries, "Outcrop" reflects on the ways in which nature can be both organized and sporadic, seemingly random yet intensely functional.”
These last 2 pictures I am not sure who the artist is, or if it can be considered the kind of metal sculpture we should be looking at for the assignment. Nonetheless it is metal, and inspires me as well. :Dwhooopee!
Subscribe to:
Posts (Atom)