Art Since 1945, Journal entry 7, 2000-2010 by Dave Holmander

Journal #7 2000-2010

 David Holmander  at Tuesday, November 22, 2016 1:40:41 PM EST

Journal Entry 7

Art Since 1900 volume 2
Period 2000-2010 pp707 – 769

By Dave Holmander

How do we escape ourselves? The essence defies logic. In literary terms, it is rhetorically an oxymoron expression. Thus 2007 cite particular importance to avant-garde art in an exhibition at the Cite de la Musique , Paris showing the development of the work of American artist Christian Marclay over a period of time.  Marclay is not alone during this period but brings value to the discussion in referencing intentionality.

Clement Greenberg wrote in-depth about the implicit and explicit variant shades of grey creative intentionality encompasses contemporary artist while undergoing commodification of autonomy.

According to Jeanne Willette (Greenberg stated that art can “save” itself from being entertainment by demonstrating that the experience it provides is “unobtainable from any other source.” It is the task of art to demonstrate that which is “unique” and “irreducible”, particular or peculiar to art and that which determines the operation peculiar and exclusive to itself. All effects borrowed from any other medium must be eliminated, rendering the art form pure. “Purity” becomes a guarantee of “quality” and “independence” of avant-garde art. All extrinsic effects should be eliminated from painting.) 1.

Likewise, Greenberg draws this connection from the past to the presence when he says “I cannot insist enough that Modernism (define: Modernism as any art created by commentary artist {dh}) has never meant anything like a break with the past. It may mean a devolution, an unraveling of anterior tradition, but it also means its further evolution. Modernist art develops out of the past without gaps or break, and wherever it ends up, it will never stop being intelligible in terms of the past.” The implication means there is no autonym from foundation and originality. The artist, albeit the “workman” to use a Biblical metaphor build upon the foundation lain by another. Avant-garde will precede an uncharted direction but never alleviated of the past.  For example the avant-gardist is only such because there is prior art in which to distinguish.

Greenberg also makes distinction to “authentic self-reflexive” or “self critical”. He sees the avant-garde as one who test the work of art against its own logic and who acknowledges the history of a specific medium. Herein, he notes with distinction, a difference of self-criticism and that of the criticism of the Enlightenment.

Whereas, criticism of the Enlightenment came from the external review against outside standard, self-critiques in internalized by one own evaluation and perspective.

By the seventies three development were evident forcing a major shift in what constituted avant-garde. Rejection of single a medium, the “dematerialization” of aesthetic and advent of conceptualism. Therefore, as we see the work in being produces in the first decade of the 21st century all the element are in play for less implicit more explicit intentional avant-garde.

It is seen in the work of Christian Marclay recognized by Cite de la Musique and the incorruption of a new term “ post medium condition”.

A visual artist also musician brings mix medium and video to the installation with thematic appointments using synchronous sound and technical support.. Among the works on exhibition are Telephones, 1995 7 min 30 seconds video and Video Quartet 2002,  a four channel DVD projection with sound running 14 min depicting a variety instrumental performances one being cockroaches running over piano keys. To his credit but not discussed here is his performance work employing Power Point and investigative journalism and writing specifically. Additionally William Kentridge chooses animated film when he photographs charcoal drawings, then erases them in part photo shouting again until he has created a cinematic strip title Medicine Chest 2000.

In returning to South Africa his home Kentridge raises the aesthetic paradox of political art having ties to the African National Congress. Two issues relative to history and the moral imperative have been instrumental in his evolution as an artist. 
 
In some ways the influence of this period is summarized by Ana Mendieta when interview by RoseLee Goldberg 2004 saying “I want to work with reality. Not representation of reality. I don’t want my work to represent something. I want people not  to look at it but to be in it, sometimes without even knowing it is art”. This is a key to avant-garde,  we are art and that’s what matters.


 1.Dr. Jeanne S. M. Willette and Art History Unstuffed. 
info@arthistoryunstuffed.com

 Collapse Commentsfor Journal #7 2000-2010Comments: 1AddComment

  • Access the profile card for user: Brian Bishop Brian Bishop said…Monday, November 28, 2016 12:32:56 PM ESTThat is an excellent quote by Mendieta to summarize this section, and the ideas you are grappling with. Bravo!

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