The Novel as a Performing Art

Philosophia - The consensus is that the novel—along with painting, sculpture, and architecture—should be categorized as a non-performing art. In this essay, I argue that such...     

Occupational structure and proprietor preferences: Subject matter displayed by art dealers

A structural model is developed facilitating explanation of art dealer's painting preferences. It is argued that social strains in the form of divergent occupational role patterns are structured in the occupation of art dealership. Two incompatible role models for art dealers are identified: business and artistic. The relative orientation of the art dealers to the artistic or business roles is shown to be differentially associated with their painting preference-subject matter displayed. The model advanced is based upon data produced from Los Angeles art dealers, and it focuses upon bringing together a study of the occupation and a study of painting preferences in the occupation.     

Interaction between creation and appreciation: How linguistic art creation impacts the aesthetic evaluation of haiku poetry and ink paintings

In the psychology of aesthetics, compared with appreciation, there are fewer studies on art creation. This study aims to examine the influence of art creation on appreciation using haiku poetry with reference to the Mirror Model—a process model combining creation and appreciation. Although the model has been primarily used to examine visual arts, we examine its applicability to linguistic arts. In addition, we use ink painting to examine whether a generalisation across artistic genres can occur. The 115 participants were divided into two conditions—creation and control. The former created haiku before and after appreciation, while the latter did not create any haiku. The results showed no improvement in evaluation through creation. Additionally, recognising the difficulty related to creation leads to aesthetic evaluation, and this relationship is mediated by awe. These results expand the existing information regarding the Mirror Model in terms of the different art genres.     

Post-struggle art: Its vicissitudes and atavisms Reconsidering the political value of Brett Murray’s Hail to the Thief works

This article revisits some of the controversies and debates that arose in 2012 over works by South African artist Brett Murray and his painting The Spear in particular. It aims to offer a more sober, profound and instructive evaluation of the painting and the larger body of works it was part of, displayed in the two-part exhibition titled Hail to the Thief. It undertakes an immanent critique of these works, assessing their appropriateness with regard to the liberatory aims and horizon of Murray’s art practice, as well as staking out the level of analysis most fundamental to such an evaluation. It does so, first, by taking issue with two dominant readings and critiques of Murray’s works in terms of unintended and unconscious messages that are found to be counterrevolutionary and racist respectively. Over and against such content analyses and criticisms, the article closes in on a more properly aesthetic form of politics embedded in the communicative mode, subject position and scenario of interaction performed by Murray’s Hail to the Thief works. Although such aspects were mostly overlooked, the article argues that they are key to determining the liberatory potential of Murray’s political art. In the end, the latter is criticised for still adhering to a rather conventional vanguardist model of art’s political role— postmodern tendencies notwithstanding. The article argues that this is untenable from a liberational perspective mainly because of the maintenance of an epistemic hierarchy between critical art and its publics and the ensuing debilitating agential effects.     

Heidegger’s Temple: How Truth Happens When Nothing is Portrayed

In his essay The Origin of the Work of Art, Martin Heidegger discusses three examples of artworks: a painting by Van Gogh of peasant shoes, a poem about a Roman fountain, and a Greek temple. The new entry on Heidegger’s aesthetics in the Stanford Encylopedia of Philosophy, written by Iain Thomson, focuses on this essay, and Van Gogh’s painting in particular. It argues that Heidegger uses Van Gogh’s painting to set art, as the happening of truth, in relation to ‘nothing’, which is a key term in Heidegger’s essays leading up to The Origin of the Work of Art. This paper extends a similar analysis to the Greek temple as a way of offering an exposition of Heidegger’s concerns in the essay. It begins by briefly outlining Thomson’s argument that Heidegger relates Van Gogh’s painting to ‘nothing’, and indicating the way this argument can be extended to the Greek temple. It then discusses three ways in which ‘nothing’ can open up the significance of the temple as a work of art in which truth happens: (1) it is not concerned with objective representation; (2) it depicts the primal strife of earth and world, concealing and unconcealing; (3) it is fundamentally historical.     

What Is a Parergon?

Despite important recent work, the rehabilitation of parergon as a critical concept in the history of art has yet to be fully broached. From the time Jacques Derrida introduced the term into contemporary critical theory in The Truth in Painting, its character and function have been largely understood as referencing a threshold or boundary—in particular, that of the border of the artwork. Yet a review of the term's long history suggests a meaning that differs in significant ways from its current near‐univocal characterization as a synonym for a frame. In particular, premodern art theory and criticism identifies a parergon with matters such as the background action in a history painting, the inclusion in a landscape of picturesque embellishments, or, following Kant, the addition of ornament to a painting, a statue, or a building. This article therefore proposes we ask again: What is a parergon?     

The Art Type Theory of Art

Abstract

The theory I present and defend in this paper—what I term the art type theory— holds that something is a work of art iff it belongs to an established art type. Something is an established art type, in turn, either because its paradigmatic instances standardly satisfy eight art-making conditions, or because the art world has seen fit to enfranchise it as such. It follows that the art status of certain objects is independent of what any individual or culture might say about it, while the art status of others fundamentally depends on the judgment of the art world. Because of the theory's quasi-institutional component, I conclude by defending it against four objections that have been raised against institutional definitions.     

Waves of Being: Merleau-Ponty with Bion and Meltzer Toward an Ontology of Music

Phenomenologist Merleau-Ponty, early on, neglected music's theoretical value in favor of painting's. Later, however, he found that it is the transience of music that speaks to the phenomenological experience of Being. This transition from painting to music presents the possibility of an ontological understanding of music for psychoanalysis. For Freud, music and morality were both from a “beyond” that was an effect of neurosis. Drawing on psychoanalyst Bion's idea of container–contained, and his disciple Meltzer's application of this to art, as well as Bion's later innovation of the unknowable O, I apply Merleau-Ponty's distinction between painting and music to the therapeutic nature of art in order to see what sort of psychoanalytically significant revelation is obtained through music.     

Is Stand-Up Comedy Art?

Stand-up so closely resembles—and is meant to resemble—the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk—social spaces and third spaces such as bars, coffee houses, and clubs. Cultivating uncultivated speech and cultivating real audiences in found settings form the background of developing the stand-up comedian, neither of which lend themselves to the conservatory tradition we think of when we think of the development of artists. This article addresses two areas of the overall question of stand-up as art, starting with the ontological question of stand-up comedy: if it is an art where is it located, and what we may mean by “artworks” and “artworld” in stand-up comedy? Then I consider whether stand-up comedy as practiced can be reconciled with several recent definitions for art and note some of the special conditions and contexts for stand-up.     

Appreciating art verbally: Verbalization can make a work of art be both undeservedly loved and unjustly maligned

Two experiments examined whether appreciating art verbally would aesthetically confuse viewers. Participants were asked to verbalize why they either liked or disliked two different kinds of paintings; one piece was representational, the other piece was abstract. Those who verbalized their reasons for liking the artworks were more likely to prefer the representational painting, whereas those who verbalized their reasons for disliking the paintings were also more likely to dislike the representational painting. While it was easy to describe reasons for both liking and disliking representational art, the same proved difficult for abstract art. The findings suggest that due to its figurative qualities people will be encouraged to generate reasons to describe representational art, rather than abstract art, and that these reasons could potentially be biased and cause them to change their preferences in line with these reasons.     

From the Galleries to the Clinic: Applying Art Museum Lessons to Patient Care

Increasingly, medical educators integrate art-viewing into curricular interventions that teach clinical observation—often with local art museum educators. How can cross-disciplinary collaborators explicitly connect the skills learned in the art museum with those used at the bedside? One approach is for educators to align their pedagogical approach using similar teaching methods in the separate contexts of the galleries and the clinic. We describe two linked pedagogical exercises—Visual Thinking Strategies (VTS) in the museum galleries and observation at the bedside—from “Training the Eye: Improving the Art of Physical Diagnosis,” an elective museum-based course at Harvard Medical School. It is our opinion that while strategic interactions with the visual arts can improve skills, it is essential for students to apply them in a clinical context with faculty support—requiring educators across disciplines to learn from one another.     

Drawing the Eczema Aesthetic: The Psychological Effects of Chronic Skin Disease as Depicted in the Works of John Updike, Elizabeth Bishop, and Zelda Fitzgerald

How might the psycho-social effects of chronic skin disease, its treatments (and discontents) be figuratively expressed in writing and painting? Does the art reveal common denominators in experience and representation? If so, how do we understand the cryptic language of these expressions? By examining the works of artists with chronic skin diseases—John Updike, Elizabeth Bishop, and Zelda Fitzgerald—some common features can be noted. Chronically broken skin can fracture the ego or self-perception, resulting in a disturbed body image, which leads to personality disorders and co-morbid affective disorders such as anxiety and depression. The vertiginous feeling that results can be noted in the paradoxical characters, figures, and psyches portrayed in the works of these artists. This essay will examine the more specific ways in which artists disclose and/or conceal their experiences and the particular ways in which these manifest in their works. While certain nuances exist, the common denominators give us a starting point for developing an eczema aesthetic, a code for interpreting the ways in which artists’ experiences with skin disease manifest in their works.     

Visual Art and the Rhythm of Experience

The concept of rhythm is frequently used by art historians, critics, and philosophers as a way of describing central features of visual art. Since rhythm is generally considered to be a temporal phenomenon associated with music, it is far from clear how visual art, composed of fixed lines, figures, and color, can be associated with rhythmicity. Linked to a temporal ordering or structure in music, the notion of rhythm in visual art leads to a claim that the aesthetic aspect of a painting does not consist in, or emerge from, its spatial structures, but rather its temporal ordering of the visual field. Recently this account of rhythm in visual art has been criticized by philosopher Jason Gaiger, who argues that visual art does not comprise movement and therefore cannot be associated with a temporal rhythm. Through a discussion of temporality and rhythm in Edmund Husserl, Erwin Straus, and Henri Maldiney, this article maintains that rhythmicity is a central aspect of experiences with visual art. It is shown that the phenomenological account of rhythm in the experience of visual art is fundamentally linked to a different notion of time.     

The League

About painting, cybernetics, and shared purpose, this article is partly a story, in part a memoir, an adventure in cybernetics, happening 30 years ago, in snow, in the small Swiss city of St. Gallen. A conference of the American Society for Cybernetics meets there. It is 1987. The author, a painter, searching for a new understanding of painting, encounters a convergence of the art of painting and the art of cybernetics through principles of second-order cybernetics in Pask, von Foerster and Maturana, dissolved in Kathleen Forsythe’s poetry. The form, as well as the content of this article, reflects cybernetics.     

Defining Art and Artworlds

Most art is made by people with a well‐developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something is art (a) if it shows excellence of skill and achievement in realizing significant aesthetic goals, and either doing so is its primary, identifying function or doing so makes a vital contribution to the realization of its primary, identifying function, or (b) if it falls under an art genre or art form established and publicly recognized within an art tradition, or (c) if it is intended by its maker/presenter to be art and its maker/presenter does what is necessary and appropriate to realizing that intention. Meanwhile, artworlds—historically developed traditions of works, genres, theories, criticism, conventions for presentation, and so on—play a crucial but implicit role in (b) and (c). They are to be characterized in terms of their origins.     

The other side of the canvas: Lacan flips Foucault over Velázquez

This essay suggests that the minimal 1966 exchange between Jacques Lacan and Michel Foucault in Lacan’s seminar actually stood in for a much fuller debate about modernity, psychoanalysis and art than its brevity would indicate. Using their contrasting interpretations of Velázquez’s painting, Las Meninas, as its fulcrum, “The Other Side of the Canvas” discovers a Lacanian critique of Foucault’s history of modernity, circa The Order of Things. The effort here is to insert the interpretation of Velázquez into the context of both Lacan’s “Science and Truth” (originally the first session of the 1966 seminar) and Foucault’s recently published book. Our interpretation develops above all from Lacan’s contrast between the definition of a painting as a “window” and Foucault’s implicit understanding of it as a kind of “mirror”—a distinction in which Lacan discovers his seminal concept of “object a.” Pursuing the understanding of object a as the “surface” of the perspectival window allows us to understand why Lacan expands the discussion of Velázquez both into an understanding of twentieth-century paintings (Magritte, Balthus) and an implicit interpretation of the difference between philosophical and psychoanalytic approaches to science and history.     

A transfer of technique: From induced song recall to the induced recall of paintings

Conclusions In this paper, I have briefly presented clinical illustrations of both unconsciously and consciously induced evocations of paintings. A supervision case with the unintentional recall of both a painting and a song was also discussed. To test the induced recall technique with paintings, I had decided a priori to apply it with that patient, in that particular session. It was serendipitous that he had read the night before about Goya’s painting (Díaz de Chumaceiro, 1995). Nevertheless, the induced question about any art is powerful, if applied at a moment of rapport, with those who have a background in that particular art form. If self-applied, the answers that surface to consciousness can serve to advance self-understanding of countertransferential binds that may be contributing to patients’ resistances to saying everything that comes to mind. Cora L. Díaz de Chumaceiro, Ph.D., Clinical Psychologist, Caracas, Venezuela. Editorial Board member ofThe Arts in Psychotherapy Editorial Board member ofThe Arts in Psychotherapy.     

Free Will, Art and Morality

The discussion in this paper begins with some observations regarding a number of structural similarities between art and morality as it involves human agency. On the basis of these observations we may ask whether or not incompatibilist worries about free will are relevant to both art and morality. One approach is to claim that libertarian free will is essential to our evaluations of merit and desert in both spheres. An alternative approach, is to claim that free will is required only in the sphere of morality—and that to this extent the art/morality analogy breaks down. I argue that both these incompatibilist approaches encounter significant problems and difficulties—and that incompatibilist have paid insufficient attention to these issues. However, although the analogy between art and morality may be welcomed by compatibilists, it does not pave the way for an easy or facile optimism on this subject. On the contrary, while the art/morality analogy may lend support to compatibilism it also serves to show that some worries of incompatibilism relating to the role of luck in human life cannot be easily set aside, which denies compatibilism any basis for complacent optimism on this subject.     

Kunsttherapie

Art therapy uses all kinds of art media for psychotherapeutic purposes, such as painting, drawing, moulding, constructing, sculpturing and building. Therapeutically driven art therapies are aimed at the enhancement of personal resources, motivational and intentional improvement, coping and more adaptive interpersonal functioning. Every psychotherapeutic and psychiatric setting can integrate art therapy, and its use in different types of mental disorder has been extensively described. Neurobiological aspects of creativity and effects of the therapeutic relationship are discussed as being involved in the effectiveness of art therapy. There is growing evidence for its effectiveness. Art therapy can contribute to diagnostic and therapeutic procedures. A comprehensive table of art therapy interventions which can be applied within a psychotherapeutic setting is presented.