Page 23 - Studio International - December 1970
P. 23

The work of art                           fairer idea of the varieties of activity to which   about various particular manifestations of
                                                    our concept of activity must be adequate. We   modern art. But in this lecture, which in-
          as object                                 make jokes as well as make plans: we make   augurates the series, I want to look at the
                                                                                              matter rather more generally, and therefore
                                                    decisions, and we also make scenes: and in
                                                    none of these cases does it seem to me that   I shall ask you to consider with me a theory of
                                                    either the concept of activity, or the more   modern art. The theory I have in mind is not
          Richard Wollheim                          specific concept of making, are extended   the only theory at work in modern art, but I
                                                    beyond their proper limits or employed in a   would claim that it is the dominant theory. In
                                                    metaphorical manner.                      this way, its explanatory value, or that part
                                                    However, though much is unclear about the   of the art of our time which it can account for,
                                                    notion of activity, one thing seems clear.   is quite a bit larger than one might think. For
                                                    From the fact that art is something that we   insofar as that art is not an expression of this
                                                    do, it follows that art is, in some further and   theory, it tends to be a reaction against it.
                                                    perhaps philosophically more technical, sense,   I can conceive of a number of objections that
                                                    intentional. And this further sense is best   might be raised to talking of a theory of
                                                    brought out in the claim that in the making of   modern art, indeed, more generally, to talking
                                                    art a concept enters into, and plays a crucial   of a theory of art. I shall not be able, you will
          THIS IS A REVISED VERSION OF A LECTURE
                                                    role in, the determination of what is made; or,   appreciate, to take on these objections front-
          DELIVERED ON NOVEMBER 4, 1970, AT THE
                                                    to put it another way, that when we make a   ally, and I suggest that the best thing I can
          GARDNER CENTRE FOR THE ARTS, UNIVERSITY
                                                    work of art, we make it under a certain des-  do is to try to give some indication why I think
          OF SUSSEX, AS THE FIRST IN A SERIES ON 20TH-
                                                    cription — though, of course, unless our atten-  that it is reasonable to look for and talk about
          CENTURY ART, ENTITLED `TIME AND THE ARTS
                                                    tion is drawn to the question, we may not be   a theory of the art of this age or that age—for
          TODAY'
                                                    in a position to give the description.    instance, of modern art, as happens today.
                                                    The arguments for thinking that every activ-  And, in my efforts at justification, I shall draw
                                                    ity—except, perhaps, for a class that we may   upon what I have so far said.
                                                    need to mark off as primitive or basic actions,   If I am right in what I have been saying, then
                                                    to which none of this applies—the arguments   in the making of any work of art a concept is
                                                    for thinking that every activity involves a   operative. It is not simply that in describing a
                                                    concept are varied, and I can only enumerate   work of art 'after the event', we use concepts
                                                    them. First, that an activity cannot be en-  to characterize them or catch their character-
                                                    gaged in, except inadvertently, unless the   istics: but the concepts have already been at
                                                    agent possesses the concept of that activity:   work in the artist's mind in the determination
          If we wanted to say something about art that   a man could not boil an egg, say, unless he   of these characteristics. Indeed, one criterion
          we could be quite certain was true, we might   knew what it was to boil an egg. Secondly,   of a description's adequacy is that in it the
          settle for the assertion that art is intentional.   two different activities might for some part of   concepts that have helped fashion the work
          And by this we would mean that art is some-  their course coincide in what they ask of the   reappear. In this way, the description of the
          thing we do, that works of art are things that   agent; nevertheless, there is reason to think   work is parasitic upon the description under
          human beings make. And the truth of this   that, over this part, the agent is engaged in   which it was made.
          assertion is in no way challenged— though   one activity rather than another, and the   Now so far, it is true, I have been singularly
          some preferred analyses may be put in doubt—  answer, which one it is, is supplied by the   unspecific about what I have had in mind in
          by such discoveries, some long-known, others   description under which he acts. So boiling   referring to the conceptual contribution to the
          freshly brought to light, as that we cannot   an egg and making tea coincide for the early   art activity. I have left it open whether it is
          produce a work of art to order, that improvis-  part of their course, yet, even while the agent   the concept of art itself that is invariably
          ation has its place in the making of a work of   is still waiting for the water to come to the   involved, and whether, if it is, it is only it that
          art, that the artist is not necessarily the best   boil, we can say, and so can he, which of the   is involved, or whether in most cases there are
          interpreter of his work, that the spectator too   two he is doing. Thirdly, an agent may, of   not more determinate concepts, such as that
          has a legitimate role to play in the organiza-  course, simply fail to do what he sets out to do.   of a particular historical style, or that of a
          tion of what he perceives.                However, given that he succeeds, he may do   type of art-object or genre,  or that of some
          Precisely what is involved in saying of some-  so because of what he sets out to do, alterna-  finite intention, that are also involved. And
          thing that it is a thing we do and not a thing   tively he may succeed (once again, I use this   the truth is, presumably, that on any given
          that merely occurs, how exactly we are to   phrase) inadvertently—for instance, after he   occasion, or in the case of any given work,
          analyse the concept of an activity, are complex   has given up trying or in the course of doing   there will be more than one concept involved,
          and difficult issues in the philosophy of mind.   something else. And the difference between   and the concepts that are involved will form
          I shall disturb them as little as possible, but   the two forms of success may be explicated by   some kind of hierarchy, with some concepts
          one general warning seems in order. And that   reference to the efficacy or non-efficacy of a   falling under others, either more or less
          is that the dangers in analysing the concept   certain concept as far as what is brought   organized. Now, it is in the existence of such a
          lie largely on the side of taking too exacting   about. Finally, divergences in the way in   conceptual hierarchy, regulative in the pro-
          or rigorous a view of the matter : so that when,   which the concept of the activity is under-  duction of works of art that we find, I main-
          for instance, we think of painting as an acti-  stood—or disagreement as to the nature of the   tain, the justification for talking of a theory
          vity, we are likely to presume too much of the   activity—can lead to differences in the way in   of art.
          painter—too much, that is, in the way of   which the activity is carried out. Or to put the   To such a suggestion two objections might be
          conscious intention, of preconception, of fore-  matter the other way round; deviance or   raised, and I shall try to fill out my suggestion
          knowledge, of direct and articulated control,   eccentricity of behaviour can be explained by   through a consideration of them. The first
          at the various stages in his manufacture of the   differences in conceptual grasp. A point to   objection would be this: If we take the con-
          object. The corrective to this tendency, as in   which we shall substantively return.   cept under which a work of art or a set of
          similar cases, is to broaden the range of cases                                      works of art—for instance, those conforming
          under review, so that we have a better and a    In this series of lectures, you will hear much    to a style—have been produced, we may
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