Page 39 - Studio International - October 1970

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first predicate 'is an artwork' by 'has a twelve edges' (since one would not normally 5 Boxes 1968
developed (i.e. theoretical) context', we then determine whether 'x' is a cube by counting its
6 The Black Book 1967
get : edges, and one could know that it was a cube
(d) { [(X is an X) has a developed context] is without knowing how many edges it has). This
an artwork} again is close to Moore's sense of 'knowing',
And it seems that, while we still have a valid that one cannot know that 'x' is a cube
proposition, what have now come up for without knowing that 'x' is bounded by square
consideration 'as an artwork' are (i) an object faces etc., but one could know 'x' is a cube
of attention, and (ii) a virtual theory for either without knowing how many edges it has. The
(or both) 'an object' or 'the attention'. One is significance lies in the coming to know that the
no longer faced with an object and an assertion analysandum applies -in the given case. Such
or declaration about it, but with an object an approach could have obvious value in a I The hierarchy of languages and particularly the
which may be credible ontologically as 'an general sorting out of statements about (or notion of a primary language used here are based
artwork' and a theory/context about which one within ?) artworks, etc. The adequacy of strongly on Russell's versions, as are several of the
conclusions.
has a certain ambivalence regarding its actual much which falls into this realm is contestable at 2 This in itself became the criterion which has led to
status. (This by no means advances as a the least. That this must lead to defining the hectic proliferation of assertions (particularly in
the very recent past) of all manner of matter and
`theory of art', but as a plausible case for essence away from property need not be a
materials. It would be perhaps of certain interest to
introducing degrees of it.) The tendency then necessary condition-such advocating of e.g. a taxonomist to sort out and classify all of what has
would be to adopt what has been to now the essentialist requirements for artworks could been asserted in the art domain.
3 Ian Burn { Mel Ramsden. 1970.
norm in such matters, and that is downgrade only be problematic. A pragmatic sense of
Without wishing to promote nationalistic tendencies,
the theory/context to a secondary or `degrees' of adequacy might work out much this would seem to underline the differences between
supportive role and elevate the object to a better. the methodology of seemingly all the American
conceptualists (Joseph Kosuth notwithstanding) and
status 'THE artwork'. But here it doesn't seem In raising necessary issues about artworks,
that of the more critical of the British conceptualists.
to be offering an adequate knowledge of the many questions have to be left open for the The former tendency still to rely on ready-made
state-of-affairs. What is inappropriate is: present. For example, whether 'this is an methods has been rejected by the latter as hardly
adequate for the nature and purported intention of the
the object has now become contingent on artwork' is a statement about identity, while
work. While the tendency is by no means restricted
the theory/context in a manner which would be significant in actual instances, cannot (and solely to the American conceptualists, they do seem to
inconsistent with separate states. Of course one ought not) be resolved or helpful to any have a greater dependency on this method than any
other. Such 'conceptual' extensions of the ready-made
might feebly fall back on arguments of general methodology. The arguments would may be interesting to view in the light of the arguments
`ontological priority' as a last resort (and there be better raised to a level where 'artwork' in this article.
has been some tradition of this in the art could not imply special (i.e. quasi-mystical) 5cf. 'Semantics and Necessary Truth', Arthur Pap.
domain), but it is no way out. (Obviously the status and where conventional notions of 6 Since it is totally dependent on the notion that it is an
artwork. Once again this would be indicative of
object could have been merely asserted as a `artwork' were deemed inadequate. Such a `conceptual' work relying on ready-made methods.
ready-made and it would have gotten by on that question as { 'does it matter if we do not identify
basis, but through the theory/context being this as AN ARTWORK ?'-may ultimately
developed a certain responsibility was assumed be more revealing about what we do identify as
for the epistemology of the object.)` The artwork and may be a suitable plot for
tradition of asserting objects independently of approaching epistemic adequacy. This attitude
any intensional theory etc. (e.g. the 'ready- would obviously throw most so-called
made' concept was an assertoric methodology `conceptual' art into a precarious state6
regardless of such theory or-more generally whereas it may not be a problem with
-the lack of it) can have little reference to an something like a 'theory of art'. The
instance of this kind. It seems then that there methodology of the latter would seem
has been a precedent of some sort (even if very substantially ample and its references clearly
recent) for 'theory' standing in the artwork denoted, so that any rendering of an asserted
realm, though scant account has been given status surely would not be further explicative
it -clearly ontological priority has been let (but only obstructive). If one is interested in
count and the issues sorted out from that level. bottleracks qua bottleracks, then there is no
Many of the problems have been promoted question of them standing as 'artwork'. It
by analytic vaguenesses. Calling for a criterion should be stressed that each of the models
of epistemic adequacy, one might have a strong analysed constitutes a distinct and individuated
basis for disputing the kind of knowledge we method, that the ready-made is merely a
(traditionally) associate with artworks. Such methodology and that the significance claimed
information as is given in this connection (i.e. for theoretical working is its new methodology
given by artists, critics, etc.) will likely have -such that its arguments are all that now count.
little chance of measuring up to such a criterion. Of course one could be oblivious to all this and
This could be formulated thus : the analysis nominally insert it thus : '(a theory of art) is
must be given in terms pointing to the usual an artwork'. But again notions of adequacy
method of coming to know (or verifying) that must be brought up; need a 'theory of art' fall
that which is being analysed applies in the given within the concept of 'the practice of art', and
case.5 This emphasizes the methods by which need 'the practice of art' not necessarily entail
we know rather than merely presuming that practical applications (via 'is an artwork') ?
such knowledge is granted. Using Langford's This kind of questioning is recondite since the
example... the analysis of 'cube' as meaning terms are not defined; in spite of this it would
`regular solid bounded by square faces, and still be disputable how much could come of it.
square faces only' is epistemically adequate but A more sophisticated approach might be to
not so an analysis into 'regular solid with make such issuing inadequate epistemically. {
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