Page 24 - Studio International - April 1965

end, and the end we would expect, on the analogy of call law are basically incompatible : life exceeds the
earlier historical periods, would be some kind of stylistic law, for the sake of adventure, of advance, perhaps
sophistication and over-ripeness. The lack of stylistic merely for the sake of a necessary freedom, a freedom to
unity in the modern movement, has, however, led to a play. In other words, there are in every genuine work of
delta-like dispersion of its forces, so that we can no art (and by 'genuine' we mean something that serves a
longer distinguish a main current, and many of the biological purpose, something that is genetically
lesser currents seem to sink into the featureless sands, advantageous) two elements, one of a mathematical
losing all form and definition. nature which gives rise to the category of beauty and
I have so far used the word form to distinguish the one of an organic nature which gives rise to the
object of a discriminating consciousness, but in one category of vitality. The greatest works of art are those
place I spoke of the subtleties of form, and in this manner that combine these two elements in a form which we
I began to introduce an important qualification. Form call organic because it possesses both beauty and
is an impersonal concept—a theoretical or absolute vitality.
concept—and what exist in our human situation are If the formal elements in a work of art are in their
various approximations to ideal forms. I do not intend essence absolute and immutable, those elements which
to be metaphysical at this point: all I mean is that make it organic are by contrast flexible and tentative,
between a perfect circle as drawn by a compass and advancing by trial and error, achieving effectiveness by
our immediate apprehension and representation of a individual effort. This power in an individual to achieve
circle is a difference determined by our individual the effectiveness of any organic activity we call style,
organs of sensibility. In perception and execution we and it is as essential to art's integrity as is form. Form
1 approximate to mathematical laws, and as all sensitive becomes organic by virtue of an individual's ability to
Jasper Johns
Light Bulb 1958 philosophers of art have observed, what we call a work refine form until it has vitality. This is always a per-
Sculpmetal 8 in. long of art preserves these approximations. Sometimes we sonal achievement—that is to say, there is nothing
Collection of the artist
2 call it 'the human touch'. Ruskin expressed the same concrete or measurable about the quality thus achieved :
Lichtenstein it is a presence, une durée pure in Bergson's sense, and
Okay Hot-Shot 1963 truth when he said that all genuine works of art were
Magna/Oil/Canvas the result of mathematical laws 'organically trans- cannot be apprehended by the intellect. It is accessible
80 x 68 in.
Collection: Mr. M. Morone. Turin gressed'. The point is that what we call life and what we only to that faculty we call intuition, and no amount of

146