Page 61 - Studio International - October 1972

perhaps represent the phase of readjusting the highly abstract, necessitating a new normative antecedence in his work. He maintains the
framework of art with the intention finally of status for art works as pure 'beings of reason' semantic ambience of his previous work,
giving to art some definitive function, or at least which have no significant status in reality but would perhaps now view ideology as
of providing grounds for such a function to be other than formally. being an ultimate determining factor in art
established in the future. In a sense, such work David Holmscroft makes a distinction practice.
represents a redefinition of artistic goals by first between analytical and theoretical art on the It is conventional, and perhaps at this stage
sorting out the mass of problematic issues which basis of the fundamental differences in their inevitable, that artists should attempt to define
have apparently condemned art in the '60's to appropriate logical objectives. But in spite of a function for art within a conceptual
scepticism, resulting in a singular lack of any this distinction it is nevertheless clear that framework inherited from a more sophisticated
clearly defined function. Such a state has been both tendencies aim at 'investing in art some area of enquiry (be it logic, semantics,
estimated as the result of a situation in which the meaning', whether it be 'externally' or ideology, praxeology, behaviouralism, politics
`open concept' of art is assumed, described by `internally' derived. Jon Bird's contribution to or whatever). Whether or not these external
John Stezaker as a case of 'maximum theoretical art is predominantly that of contextual frameworks will continue to be
extension — minimum intention (i.e. 'anything providing solutions to theological problems developed or whether a purely theoretical art
goes' and therefore art is meaningless as both which he feels are appropriate in being can develop and 'internally' derived criteria
term and endeavour).' The slogan of the avant analogous to the problems confronting a result is mere speculation at this time, but all
garde (`anything goes') is isolated as the primary purely theoretical art. It is clear that the extent the issues have been clearly stated (from a
factor condeming art to inconsequence through of the differences exhibited in these number of different points of view) in much of
lack of unified meaning. The Art & Language contributions towards a redefinition of art is the work in both exhibitions. It might even be
Group on the other hand has been involved with bound to give rise to specific distinctions regarded as the first attempt at conducting
developing semantic and ideological frameworks between different approaches, so that art practice in a completely rational way. It is
which can more adequately sustain an 'art approaches lacking feasibility are isolated and self-evident that the notion of the avant garde
work' as theoretically or philosophically subsequently discarded in exactly the same way and all its entailments can only present an
consequential. This work is conducted along as described above with reference to the obstruction to such a rational endeavour. Even
the lines of modern analytical philosophy and `avant garde'. Where the Art and Language the status of the art work presumed since the
aesthetics. Charles Harrison (quoting from an Group have attempted to sort out issues first development of the notion of the avant
analytical aesthetician Morris Weitz) writes within the realm of art in a logical/linguistical garde is that of a useless or functionless entity.
`Once you stop trying to define the framework, others have assumed political Some aesthetic theories have made much of
undefinable — "What is art ?" — and start trying priorities. David Medalla, John Dugger and the supposedly non-utilitarian aspect of art
to answer the replacement question 'What sort Jun Terra attempt to supplant the lack of works from comparisons made between
of concept is "art" ? — there is just no other function or 'emptiness' which Medalla `aesthetic objects' and technical or practical
way to avoid both narrow mindedness and attributes to 'formalist' art with a function of objects. Minimal art seems to have been
naivety'. serving a political ideology (viz. Marxism- particularly influenced by such ideas. Of
Thus solutions to the sorting out of these Leninism). However, one of the noticeable course, submerged beneath this concept of art
problematic issues are sought entirely in a side-consequences of such political 'guiding works is an even more persistent and
semantic dimension. The Newport-based lights' tends to be the presence of much that is elemental belief that art works are real and
group (Peter Berry, Paul Wood and Kevin superfluous to a purely political intention. This tangible objects for contemplation in
Wright) are largely in accord with the Art & is a consequence of, in this case, the Maoist themselves outside any framework of reference.
Language Group in stressing the logical/ dualism of values in art between the aesthetic After all, a material object cannot itself be a
linguistical nature of solutions to the problems and the political. In modern times, the meaning, though indirectly it can mean
of art, but appear to concentrate on the aesthetic attribute might seem more readily something in conjunction with an appropriate
normative bases of art activity, conventions, dispensable, demonstrating the innate context. (Perhaps this is a further way of
etc., and with the political ramifications of the difficulties of attempting to be revolutionary, accounting for interest in contextual matters.)
shift in paradigm cases for art works. John both politically and artistically. The shift towards an ontology of
Stezaker, in contradistinction, does not Another attempt to redefine art's function in non-physical entities (Art-Language) or
recognize the semantic priorities of the analytical terms of a societal value 'of use' is made by towards an 'intentional' ontology of 'beings
artists; rather, he is involved with promoting a Steve Willats, whose work remains politically of reason' (Stezaker) is obviously an attempt
purely theoretical art, i.e. with self- neutral since it depends upon scientific to ascribe to art works a more direct meaning
perpetuating prescriptive theses. To this end empirical objectivity. His work aims at or function. It seems that the stressing of
he has drawn up several 'first principles' or divining a usefulness for art in a social ambience contextual matters on the one hand and the
undeniable assumptions upon which such an within a theoretical framework derived from adjustment of fundamental internal matters on
activity can be based. Instead of utilizing human behaviour and cybernetic science. the other (as representing what Holmscroft
extrinsic frameworks to imbue in art works a Victor Burgin in a recent essay (`Margin would regard as being analytical and
definitive function, he cites 'internal' Notes') also prescribes the empirical art theoretical approaches respectively) may turn
distinctions, namely the Categories which are theorist's commitment to societal use in out to be complementary aspects of the same
devised to sustain such an activity free from preference to the 'internally' derived function endeavour.q
honorificness'. The resulting scheme for art is of theoretical art. This marks a shift of
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