01 September 2019
Dr Great Art podcast episode 55: Epistemology in Art. The philosophical analysis of the search for knowledge. Does it exist in art? How and what can we know? Will it replace the ubiquitous ontological expressions in Postmodernism? The Podcast link: http://drgreatart.libsyn.com/episode-55-epistemology-in-art
Dr Great Art Podcast 55
Epistemology in Art
Hi this is Mark Staff Brandl, with the 55th "Dr Great Art" brief podcast. I hope you enjoy it and come back for each and every one.
Today my Artecdote concerns epistemology in art. Not as dry or as obtuse as it first sounds, I hope. The question of knowledge in art.
Since have been tossing philosophy terms around in these podcasts, I think a slightly "teacherly" presentation is in order here, to make certain that we are all on the same page. Most artist and artworld denizens have little reason to deal with the terminology of aesthetics regularly, so probably have forgotten what a few key terms I love to bandy about actually concern. The two main ones that will pop up time and again, are ontology and epistemology.
First ontology. It is "the study of being or existence. It seeks to describe or posit the basic categories and relationships of being or existence to define entities and types of entities within its framework." In short, it concerns definition, what makes a thing be what it is, or what makes us call it thusly, or recognize it. How do we define 'bird' or 'toy' or anything else. Often this is most usefully discussed in terms of what characteristics are necessary and sufficient to establishing what a thing is. Ye Olde "Is that art" thing.
One result of the discovery of using ontology to inspire art is the "Danto-Dickie Institutional Theory of Art." The assertion is that an object becomes art through being accepted by those with power in the artworld. Arthur Danto views the entire history of western art as a evolution in this direction, roughly. This structurally mimics Clement Greenberg’s view of the history of art as a progressive reduction to genre-specific elements, yet refines it intellectually. Danto feels that fine art peaked with Duchamp and his followers, especially Andy Warhol. In these artists’ works, art has become its own philosophy, actually its own ontology, finally merging with everyday objects.
One great problem I see in the ontology of art (which I, however, find exciting) is that art as now experienced, since about the Renaissance at least, appears to be THE category or concept which includes in its characteristics the desire to always expand, or at least alter or question, its very definition. This is seldom addressed in current Neo-Conceptual artworks based in ontological concerns.
HOWEVER, Probably more important for the future is What is epistemology?:
Epistemology is the "investigation into the grounds and nature of knowledge itself." Epistemological studies are usually focused upon our means for acquiring knowledge and, as a consequence, modern epistemology generally involves a debate between rationalism and empiricism, or the question of whether knowledge can be acquired a priori or a posteriori.
Empiricism: those following that believe knowledge is obtained through experience.
Rationalism: those following that assert that knowledge can be acquired through the use of reason.
Others feel that this is a false, or at least futile dichotomy, and are beginning to raise new issues of knowledge, and of interpretation and understanding as knowledge-seeking. Note that epistemology concerns "knowledge" and NOT "learning."
And we Philosophical Pragmatists seek to replace the quest for certain knowledge of eternal, unchanging objects with a realistic account of fallible, experimental, empirical inquiry.
William James made an important pragmatist observation that "when … we give up the doctrine of objective certitude, we do not thereby give up the quest or hope of truth itself."
What are Some of the Big Questions in Epistemology:
What can we know?
How can we know it?
Why do we know some things, but not others?
How do we acquire knowledge?
Is knowledge possible?
Can knowledge be certain?
Are their various or multiple "knowledges"?
Does the experience of artworks (novels, paintings, films, etc.) supply knowledge, or the opportunity for knowledge? And of what kind(s)?
Epistemology is important because it is an essential form of probing into the way in which we come-to-understand, not just think. It is the attempt to grasp how we acquire knowledge, --- not just the phenomenology of our thoughts, and not just how we are "trained" or how we memorize facts (hence not behaviorism nor any other form of the psychology of learning) ---; it is the attempt to understand how we rely upon our senses, and how we construct concepts in our minds. A firm epistemology is an aid to grounding sound thinking and reasoning — this is why so much philosophical literature in this field can involve seemingly abstruse discussions about the nature of knowledge. Questions of epistemology have seldom been directly addressed in visual art, but then, until Duchamp's beatification in the 60s, neither were questions of ontology much addressed.
Epistemological questions about art have recently resurfaced, probably due to the changed attitude to arts funding, arts situation in the academy, and certain Late-Neo-Conceptual practices, e.g., much now revolves around considering art practice as 'research'. This presents both a new prospect and a peril – an opportunity to reframe art practice as an enquiry (or at least to make more explicit the questioning nature of art), and a danger of falling into a pseudo-scientific mode of investigation.
Concerning questions of epistemology in (not about) art: its importance could lie in subsuming and opposing the above mentioned absorption in ontology. This was a rich new area for art, but has outlived its usefulness, now most often generating rather vacuous art illustrating truisms (supposedly) derived from Duchamp --- a total about-face of his spirit, I firmly believe. David Carrier, one of my favorite philosophers in aesthetics, in his battles with the Institutional Theory of Ontology is indeed inventing a controversial "superior epistemology" which could replace the mannerist concept of the "endless endgame of art" which the academic infatuation with ontology has brought us. (I say controversial because Carrier has been 'accused' of this; and I think this is true --- yet laudable, whereas his critic who claimed that meant it as an objection.)
What could epistemology bring to art? Some intriguing questions, as a starter. Ones that might stimulate exciting art in philosophically-minded artists (like me), and subsume the questions of ontology. One praiseworthy aspect of philosophy is that one cannot just ignore an opponent, or appeal to mystical insight, or make claims to be "newer" or more "fashionable," as is often the case in the artworld. In philosophy, one has to counter an argument with a better argument, and best of all one which "takes over," absorbs, ones opponents' views while "improving" or redirecting them.
Some quick notes on epistemological questions in art:
Where is the locus of meaning in art?
What constitutes artistic understanding?
Can art be "true"?
Does it matter if art is "true" or not?
Is sincerity a form of knowledge?
Is irony a form of knowledge, or a disavowal of knowledge?
Can art offer knowledge of the world?
How does the artist's interaction/dialectic of intent and technique (material) offer knowledge, or even perhaps "better" knowledge than simple theorizing?
Are our beliefs that art gives us some kind of insight justified?
How does each new artwork throw our expectations of what we know off balance?
Does art most clearly embody Gadamer's hermeneutic circle of understanding (/interpretation/knowledge) of experience?
How does arts continual dialogue with its past (art history) and its present affect claims to knowledge?
What is the process whereby the artist attempts to posit and test, thereby seek, knowledge in his or her art?
And many more.
Whew, that was a whole lotta lecturing. I hope I was clear and didn't bore you too much. But I think this is very important and could offer an important doorway out of the closed pedantic circle of thought now hegemonic.
That was Epistemology in Art.
Thanks for listening. Podcast number 55. If you wish to hear more cool, exciting and hopefully inspiring stuff about art history and art, come back for more. Also I, Dr Mark Staff Brandl, artist and art historian, am available for live custom Performance-Lectures. In English und auf Deutsch, with Performance-Paintings!
I take viewers inside visual art and art history. Entertainingly, yet educationally and aesthetically, I analyze, underline, and discuss the reasons why a work of art is remarkable, or I go through entire eras, or indeed through the entirety of art history, or look at your desired theme through the lens of art history. The lectures often take place with painted background screens and even in my painting-installations. Most recently I did "Petr Jan Brandl, Baroque Art, Prague and Me" in Prague at the Festival Brandl.
You can find or contact me at
book me at www.mirjamhadorn.com (spell)
or find me on Facebook, Twitter, Instagram, all as Dr Great Art.
Dr Great Art podcast, Episode 54: Grief in Art. A short, yet gloomy, podcast for summer. My mother Ruth Staff Brandl passed away very recently at the age of 87. In this tough, sad time, my mind still approaches the world through art, yet I find it hard to find any comfort therein. In our artworld nowadays, it seems almost ridiculous. Grief, though, like most important and complex human emotions, has been the subject or inspiration for many great works of art. The Podcast link: http://drgreatart.libsyn.com/episode-54-grief-in-art
Dr Great Art Podcast 54
Grief in Art
Hi, this is Mark Staff Brandl, with the 54th "Dr Great Art" brief podcast. I hope you enjoy it and come back for each and every one.
Today my Artecdote is a short, yet gloomy, one for summer.
My mother Ruth Staff Brandl passed away very recently at the age of 87, just short of 3 weeks ago, after having done a heroic job of battling MDS, myelodysplastic syndrome, and its mutation acute myeloid leukemia, for over 5 years, supported emotionally, physically and medicinally by my wonderful sister Marcia. In this tough, sad time, my mind still approaches the world through art, yet I find it hard to find any comfort therein. Our societies nowadays have very little room and few structures for grief. It helps immensely that my wife and I were able to fly in and be together with my sister and my brother-in-law Ron, and that our mother met the challenge, and the end itself, with her renowned, life-long positivity, sense of humor and wit. But grief still dominates and casts shadows of true value on my perceptions. By the way, I posted her obituary on my article archive blog, http://brandl-art-articles.blogspot.com/.
But how can one turn to art in this? In our artworld nowadays, it seems almost ridiculous.
As remarkable art critic and artist Matthew Collings wrote a year ago,
"I'm not trying to understand the mysteries of the artworld system, but saying it's a boring system, with simple-minded objects, and I'm advising that such a system could be altered and previous systems with their different objects and mediations are where clues about how to do the altering are to be found."
Boring system with simple-minded objects. Indeed. The Postmodernist and Late Modernist artworld seems so empty in the face of death and neo-fascism.
Let me illustrate this: a local, much rewarded, conceptual art duo that has done several good and several silly works, has recently once again shown its "World's Biggest Picnic Blanket" heralded as social art. Yes, that is what it is. That is laughable kitsch. And they ask why so few people take us seriously. With such, they should not.
However, back to the main point of grief. It, like most important and complex human emotions, has been the subject or inspiration for many great works of art. Art has expressed the complex feelings of which grief consists and tried to produce emotional healing in potent images of human woe. "Grief turns out to be a place none of us know until we reach it," says Joan Didion. And it is an unfamiliar, terrible place each and every time anew.
What are some artworks that have successfully dealt with grief, at least as far as any human endeavor can? The Pieta sculptures and Lamentation of Christ paintings throughout history, such as that oddly perspectivally-distorted one by Andrea Mantegna. So MANY paintings by Rembrandt, who knew so much familial sorrow in his life, having both his wives and all his children pass away before him. The scumbled, grittily haptic surfaces of his paint, especially on faces and self-portraits, reveal the soul of humans battered by the comet impacts of life. Titian has that too. Tintoretto's fleeting brushstrokes evoke the transitoriness of life. Goya's mature works evoke the horror of grief for all human inhumanity.
Before I Die is a contemporary artwork by Candy Chang. She created a public work centered on the passing of life, after the death of a friend, by painting the words "Before I die I want to" with a blank "_____" on the wall of an abandoned New Orleans building. Within hours, "the wall was filled with personal aspirations, hopes and goals — everything from 'be myself completely' to 'see equality for all.' " As Priscilla Frank records.
The desire to hold on to some form of future hope even when the future is over for someone you loved. I myself was pleased to hear from my sister Marcia that our mother had written a short book of her thoughts when she sat in the library contemplating life, while my sister was in a continuing education class for one semester. I intend to turn it into a published work. Our Mom was artistic, worked originally in visual merchandizing display art, in her rich and varied job life, but most of all loved learning and was a voracious reader; she passed her love of this on to us for which she ever-enriched our lives. One of her goals was to author a book, but as in the lives of many women of her generation, she received little encouragement, in fact active discouragement, in this. We will make it come true as it becomes a collaborative book with me, one way I have of hanging on to her hope and presence
Her obituary is online here: http://brandl-art-articles.blogspot.com/2019/07/ruth-staff-brandl-obituary.html
That was Grief in Art.
Thanks for listening. Podcast number 54. If you wish to hear more cool, exciting and hopefully inspiring stuff about art history and art, come back for more. Also I, Dr Mark Staff Brandl, artist and art historian, am available for live custom Performance-Lectures. In English und auf Deutsch, with Performance-Paintings.
You can find or contact me at
book me at www.mirjamhadorn.com (spell)
or find me on Facebook, Twitter, Instagram, all as Dr Great Art.