Page 62 - Studio International - December 1973

ART THEORY& PRACTICE
5 For further discussion see: Egbert, D. D. 'The Idea constitutive and individuating principles regard practice). Theorists have become
of "Avant garde" in Art and Politics' American established in the process of ordinary timorous in prescribing to the activity of art and
Historical Review Vol. LXXIII No. 2 (Dec. 1967);
pp. 339-66. deliberation. have often preferred, where implicit
6 Brooks, R. 'The New Art' Studio International One outcome of the employment of this prescriptivity is acknowledged, to regard the
Vol. 184 No. 948 (Oct. 1972); pp. 152-3. `framework of belief' in the practice of art speculations as having import, not in the
q.v. Körner, S. Conceptual Thinking Cambridge, 1955.
8 The work of Alois Riegl (1858-1905) is, perhaps, a (besides the lack of recognition of a 'framework constructive programme of art, but in the
significant exception. of belief' as such, to which it contributes) is the apprehension of art. Consequently art-theory,
9 'Philosophical' is used here to describe the origin of New York academism (most explicitly where it is not just descriptively-slanted, tends
such theory, it is not value-laden.
10 Stezaker, J. 'Priorities II' Frameworks Journal propounded by Ad Reinhardt in 'Twelve Rules to a principally epistemological dimension.
Vol. 1 No. 2 (June 1973); pp. 1-19. for a New Academism') which equates art- It is not difficult to see how the notion of
11 e.g. Domhoff, G. W. 'But Why Did They Sit on the works with artefacts and the decision-making `objectivity' is utilized in modern art-theory to
King's Right in the First Place ?' Psychoanalytic
Review Vol. 56 (1969-70) pp. 596. activity of art with that of a craft practice. It is maintain a non-prescriptivity with regard to art-
also felt that by the negation of all values activity, because this concept provides a modus
conventionally associated with art-works the operandi for theory, which is alike that of natural
simple physical artefact is an absolute science. The concept also provides a theory-
PRESCRIPTIVE incontravertible fundamental for art-practice. practice distinction corresponding to 'theory
What is implicitly forwarded is the ontological subject-matter', which consolidates the
THEORY directive of physicality, though if the conventionally presupposed separation between
PRESCRIBED reductionism which has yielded this 'absolute' these two endeavours. The nature of their
were examined as one might a theoretical or separation, in these terms (positivistically) also
It is common for art-theorists, critics and even analytic reduction, one could say that the tends to promote the notion of an autonomous
artists to treat the 'realm of art' as a piece of the `thesis' is honorific. That is to say, it presupposes art-practice or, as it usually is termed (in
natural world either explicitly, in the what it aims at forwarding. If minimal art is accordance with the inherent determinism
formulations asserted, or implicitly, in the regarded as forwarding the ontological presupposed) 'art process'.
modus operandi adopted. Consequently the directive of physicality, it is also observable Positivistic and naturalistic art-theory does
standpoint adopted conventionally by much that the manner of reductionism is itself, not recognize a framework, ontological or
theory has been that which presupposes an subject to this very directive. It thus otherwise, to which it contributes, just as it does
`objectivity' for its observations. Implicit in the presupposes the directive which it aims at not recognize the operativeness of such
objective approach is of course the idea that forwarding in the very process of so forwarding frameworks in the practice of art (let alone that
art-works (those items of the realm of art) are it (reductionism). This would scarcely such frameworks could be admissible as a part
objectively real, and sometimes even that they surprise or worry affiliates to such academism, of its subject-matter). Consequently,
are subject to natural law for their as the cult of the meaningless tautology and of conventional aesthetics, by virtue of its stance of
determination. The sceptical nihilism of honorificness can be regarded as a part of the objectivity, does not recognize that it imposes
minimal art and of Post-Duchampian art more explicit commitment to meaninglessness upon its subject-matter the ontological status
generally, as articulated in its reductionistic which attends the forwarding of this directive, of being 'objectively real', implicitly by the very
programme, has come up with approximately (Tautology and the cult of the meaningless is adoption of this stance. A difficulty which can
the same 'conclusion'. When all extraneous explicitly celebrated in the writings of the be witnessed however, is in such theory's
conventions and arbitrarily attendant norms of American affiliates to the 'new academism' e.g. determination of the range of subject-matter
art-practice are removed, when all purportedly Kosuth, Reinhardt, Jude, Andre).2 prior to developing generalization. Choice which
inessential aesthetic desirata are eradicated from Another characteristic of this kind of art- is in some sense, evaluative must enter into
the minimalist 'objects of art', what is left, it is practice and art-theory has been its refusal to individuation of those entities which are to be
felt, are truly the 'fundamental' aspects of the recognize the presence or operation of a considered, and the kind of choice which is
realm of art. The 'conclusion', thus forwarded, framework of belief as such, or conceptual implicitly upheld in naturalistic and
is that art-works are real factual entities or schemes or indeed any manner in which positivistic aesthetic theory is precisely
physical objects, pure and simple. ordinary human deliberation can be regarded determined by its ontological commitment to
One might examine the nature of the as efficacious in determining (systematically or the 'objectively real'. Appeal to commonsense
reductionism which comes up with these otherwise) the items of the realm of art. Theory, becomes a widespread but in itself, inadequate
`fundamentals', firstly, by an examination of its when it attempts to generalize (which seems to form of argument here, particularly given the
ontological directives (which are implicit in be the most uniform supposed aim), does so by epistemological-orientation of much aesthetic
determining its 'conclusion') and secondly, in observation of what is taken to be an objectively theory and thus its attendant prescriptivity with
terms of the presupposed fundamentalism, real set of entities conjoined by some common respect to apprehension. If aesthetic theory is
which associates the ultimate objective of the element in rerum natura. There is only non- thought to function in prescribing to
reductionistic process with an incontrovertible intentional categorization in terms of the apprehension of art-works, it can scarcely, with
and essential natural law. physical differentia which distinguish the adequacy base its speculations upon observations
However else Post-Duchampian art is category-types of the 'arts'. In other words, art- into a range of entities themselves determined by
individuated, it is certainly characterized by the works are not linked by virtue of frameworks of consensus opinion. Otherwise the only
operation of the ontological directive asserting belief which are operative in a particular area of prescription is the simple retention of
the real factual nature of its entities, and is work, nor is it thought possible that theory commonsense beliefs about art for no other
rooted in the concept of a fundamental pre- might provide a manner of elucidating and reason than because they are `commonsense'.3
requisite for art which is, in a sense, natural articulating these frameworks of belief. Art- It is quite clear that all decisions made in
rather than 'conventional' or subject to human theory has tended during this century theorizing are framework-bound. The initial
determination. In exactly the same way the particularly, to adopt a deliberately non- selection of the range of subject-matter is
theory which contributes most obviously to this speculative orientation, rarely recognizing its ontologically directed, and thus an
state of affairs in the practice of art itself, prefers own implicit evaluative frameworks and never acknowledgement of this fact is a pre-requisite
to regard the 'realm of art' as an assembly of conceiving of the possibility of contributing to to adequate (non-honorific) theoretical
pre-existing natural entities, rather than a realm the same framework of belief as a particular area conjectures. The alternative (i.e. the veiling of
of pre-established entities, conforming to of art-practice or art-activity proper (as it would evaluative frameworks on the pretext of
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