Page 23 - Studio International - November 1972

Judd and after requirements for pure reason, and later to has been the complete overthrow of more
rational modes of composition — the classical
demarcate the limits of 'true' knowledge
through an analysis of language. Art in turn modus operandi. But even more critical to the
aspired to a mode of expression that would concerns of art at present is the inherent
Roelof Louw `evaluate' experience purely in terms of feeling,2 opposition within the established conventions
that would liberate it from classical notions of of Modernism to the very substance of
order, and belief. In principle, it may be said thought: matters of fact.
that both disciplines endeavoured to establish Within (modernist) aesthetic theory, the
I criteria that are irreducible in terms of their experience of art is defined as an end in itself,
To think of Modernist Art1 as the counterpart to decided operations. and the judgement of 'felt quality' (through
analytic philosophy can be enlightening. If the progress of art is looked at through taste) accordingly, as an ultimate or universal
Clement Greenberg has already drawn a abstract expressionist painting and sculpture value. It is argued that to identify a felt response
convincing analogy between the self-critical this thesis would seem to hold : By stages, it with a conception of an object (as distinct from
approach of analytic philosophy and the formal convincingly gives the impression of having its appearance) would give it a value that is
approach to media evolved in painting. By `reduced' its essential 'content' purely to the relative to the 'status' of the object, rather than
extending this analogy, it can be used to clarify ordering of our felt responses to sense-data to the feeling within the subject, while in
the 'attitude' of Modernist Art to content and by extension the judgement of felt quality practice it is accepted that the 'process of
equally well. In general both disciplines through the operation of `taste'.3 Fine Art in cognition' contradicts the 'ultimate nature' of
rejected the traditional notion of function; of other words had finally become an 'ideal mode aesthetic/affective 'awareness'.
defining themselves as a means to some external of experience' that referred to no meaning or However, while aesthetic theory may partly
end, and turned inwards in order to establish value beyond itself. explain the detraction of Modernist Art from
absolute values. Philosophy set out to assert the One significant outcome of this 'attitude' (literal) space, it also tends to obscure the

Donald Judd Untitled 1969. Brass, 22 X 50 X 37 in., Leo Castelli Gallery
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