Abstract
The difficulties facing the philosopher who wants to reflect on art today are daunting. In 1900, the aesthetician would have had to worry about paintings, which could be on canvas, on wooden panel, on walls in mural form, and on objects of use and decoration; or about works on paper, such as watercolors, drawings, and prints in various media; or about sculptures, which would be shaped by the artist himself or by his assistants in bronze, stone, wood, plaster, or wax. In all of these works, the visual image would enjoy pride of place. The dramatic changes on the picture plane and in sculptural form that began to occur shortly after 1900, although certainly posing difficulties for traditional philosophy of art, did not threaten the central role of the image in any fundamental way. The threat was not long in coming, however. In retrospect, one finds it in the Dada movement, and particularly in Marcel Duchamp’s readymades, the first of which was “produced” in 1913. The readymades, ordinary manufactured objects such as a snow shovel or urinal—selected by Duchamp, usually inscribed by him with some sort of title, and inserted into the context of the art world—are now widely taken to be works of art. The readymades and the Duchampian spirit they represent have had countless heirs in contemporary art. The readymades are, of course, visual objects, in the sense that one can see them, just as one can see any snow shovel. Whether or not they and their progeny, such as the works of conceptual artists, are visual images, however, is another matter.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
References
Edmund Husserl, Phantasie, Bildbewusstsein, Erinnerung ( 1895–1925 ), Husserliana XXIII, ed. Eduard Marbach (The Hague: Martinus Nijhoff, 1980 ).
Husserl attempts to convey the unique character of the “perception” at work in image-consciousness by using the term “Perzeption” to indicate the experience in which an image is presented as perceived and not actual, and “Wahrnehmung” to indicate the experience in which an existent object in the world is presented as perceived and actual [cf., e.g., Hua XXIII, Beilage LI, Nr. 17]. He will also describe the latter experience as “positing” and the former as “nonpositing” or as “quasi-positing.”
Marcel Duchamp, cited in Marcel Duchamp, ed. Anne d’Harnoncourt and Kynaston McShine ( New York and Philadelphia: The Museum of Modern Art and Philadelphia Museum of Art, 1973 ), 275–276.
Richard Wollheim, Painting as an Art, Bollingen Series XXXV (Princeton: Princeton University Press, 1987), chapters two and three.
Marcel Duchamp, The Essential Writings of Marcel Duchamp, ed. Michael Sanouillet and Elmer Peterson (London: Thames and Hudson, 1975 ), 141.
Duchamp’s own remarks about whether the readymades are works of art are interesting in the light of the almost universal acceptance of the readymades as art. For example, he said in conversation that he chose the word “readymade” (in 1915 ) because “it seemed perfect for these things that weren’t works of art, that weren’t sketches, and to which no art terms applied. That’s why I was tempted to make them.” Pierre Cabanne, Dialogues with Marcel Duchamp ( New York: The Viking Press, 1971 ), 48.
Maurice Blanchot, The Gaze of Orpheus, trans. Lydia Davis (Barrytown, N.Y.: Station Hill Press, c1981).
Certainly this seems to be the case in most of Husserl’s discussions of the matter. In a text probably dating from the mid-twenties, he writes: “In a certain sense, I can view any thing as an ‘image’[BildJ” (Hua XXIII, 593). The use of scare quotes, however, suggests that he is using the term metaphorically and is referring to our capacity to ignore the existence of something and to contemplate its appearance aesthetically. This would not be enough to make it into an image-object in the strict sense.
Kenneth Clark, What is a Masterpiece? ( New York: Thames and Hudson, 1979 ), 42.
American Artists on Art, ed. Ellen H. Johnson ( New York: Harper and Row, 1982 ), 117.
Art as Art: The Selected Writings of Ad Reinhardt, ed. Barbara Rose ( New York: The Viking Press, 1975 ), 45–78.
Kenneth Clark, The Nude, Bollingen Series XXXV ( Princeton: Princeton University Press, 1956 )
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 1997 Springer Science+Business Media Dordrecht
About this chapter
Cite this chapter
Brough, J.B. (1997). Image and Artistic Value. In: Hart, J.G., Embree, L. (eds) Phenomenology of Values and Valuing. Contributions to Phenomenology, vol 28. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-2608-5_3
Download citation
DOI: https://doi.org/10.1007/978-94-017-2608-5_3
Publisher Name: Springer, Dordrecht
Print ISBN: 978-90-481-4826-4
Online ISBN: 978-94-017-2608-5
eBook Packages: Springer Book Archive