A description of the connection between art and reality

Art of reality

But protesting against panegyrics does not mean disparagement. If it is thought necessary to define the beautiful as the main or, to be more exact, the sole essential content of art, the real reason for this is that the distinction between beauty as the object of art and beauty of form, which is indeed an essential quality of every work of art, is only vaguely seen. Inappropriate dilation on the beauty of nature is not so harmful in a work of art; it can be skipped, for it is tacked on in an external way; but what is to be done with a love plot? But poetry cannot take in an excessive amount of detail; of necessity leaving a great deal out of the picture, it focuses our attention on the features retained. In acting, a man always has an aim, which constitutes the essence of his action. I contend that artists do this all the time; they make analogies to the external world that illuminate its structure. His art is insidiously tragic. His minimalist paintings are not mere formal exercise, nor simply irrelevant as signs for wholly external meaning — their content is dependent on their being-a-painting but not exhausted by this fact. The simplest way to solve this riddle would be to say that the sphere of art is not limited only to beauty and its so-called moments, but embraces everything in reality m nature and in life that is of interest to man not as a scholar but as an ordinary human being; that which is of common interest in life — such is the content of art. These paintings cease to be analogies for anything other than themselves as singular tautologies. Thus a horrific car crash becomes a picture on the wall. Of course, it would be much better to see the sea itself rather than pictures of it; but when a good thing is not available, a man is satisfied with an inferior one. In fact, minimalism followed the post-painterly abstraction of Louis, Olitski et al.

As against works that in mirroring the surrounding world seek to point to universals inhering in aesthetic fragments, socially committed art pulls with art as instrument agency into the artwork.

Any connection to an external reality was rigorously avoided and the problems of painting become negative ones of subtraction; in seeking to reduce painting to the definition and expression of its inherent limits, Reinhardt and Greenberg collude in defining modernism as a conservative discipline.

art and reality quotes

Reprinted, with extensive revisions and corrections for this volume by James P. In this transitional stage, abstract art can be an important means of understanding the implications and machinations of our present: the role of the subject amidst complex hyper-connectivity, the massiveness of data networks, the ideological stranglehold of capitalism, the absurdity of the Internet.

A description of the connection between art and reality

As regards portraits which are awfully like the originals, this must be understood as follows: to be faithful, every copy must convey the essential features of its original. But poetry cannot take in an excessive amount of detail; of necessity leaving a great deal out of the picture, it focuses our attention on the features retained. This is a general law for handicraft, for industry, for scientific activity, etc. This is viewed as an advantage that poetic scenes have over reality; but every single word does the same to the object it denotes. Let art be content with its fine and lofty mission of being a substitute for reality in the event of its absence, and of being a manual of life for man. We cannot refrain from adding that every prose narrative does the same thing poetry does. Abstraction can operate in that space where the sensible exceeds the conceivable: painters once expressed the enormity of skyscrapers within the walls of a gallery, today we are made small by information. The flat process-oriented structure from which the concurrently reflective, tentative and immediate character of the artistic or activist acts referred to above spring forge a basis for the delivery of potential impacts into the heart of a contemporary social situation. At parallel levels, political and interventionist art may be said to draw the levels of agency, thought and reflection into a process-oriented elaboration of the work itself. By performing this second function the historian becomes a thinker, and as a consequence his work acquires scientific merit.

This kind of artistic praxis may be said to have process as its goal: action and reflection running in tandem produce partial outcomes which jointly yield a whole or a statement greater than the sum of the individual parts.

Notes [1] Badiou, A. That is precisely why the more perfectly a useless imitation bears external resemblance to the original, the more disgust it arouses.

In acting, a man always has an aim, which constitutes the essence of his action. Confusion of beauty of form as an essential quality of a work of art, and beauty as one of the numerous objects of art, has been one of the causes of the sad abuses in art. This can be done to some degree by all the arts: often it is sufficient to call attention to an object which art always does in order to explain its significance, or to enable people to understand life better.

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Painting and Reality: Art as Analogy