Page 84 - Studio International - December 1973

ART THEORY& PRACTICE
which Art-Language are doubtless its items can be comprehended. Thus theory activity and of art-apprehension by Stezaker, in
contributing. The problem, though, is whether precedes practice in this sense his prescription of 'Intentionality' as an
the change involves an ascent to a plane of Regarding the art-works of both Art & alternative metaphysical framework for art.
discourse, which transcends the physical realm Language and of theoretical art, it seems to be Discursiveness is asserted as a requisite to art-
of art-works, or whether the items are to be a regularity that they raise questions concerning activity and apprehension by Art & Language in
termed 'art-works' might be re-defined as items their ontological status (and other related their 'meta-language' ascent from the
of this 'plane of discourse'. issues). The function of the less recent works meaningless and non-intentional 'object-
Art & Language have tended towards an comprising each endeavour, has been in language' of minimalist 'objectives of art'. The
entirely contrary standpoint from that of question-begging certain issues which are conviction of Art & Language is that by
Stezaker's. Instead of presupposing a new deemed to be principal to the endeavour as a providing new areas of theoretical discourse for
ontological commitment (for the art-work or whole. Where this principality lies is the basis artists, in the construction of their works, the
for the realm of art), by a reversal of the of the difference between theoretical and mundanely practical or technical nature of
methodology begun by Duchamp in his 'ready- analytical art. Though of course a pre-requisite artistic discourse can be transcended. The
made' strategy i.e., in the terminology of Art & to the solution of problems is initially the conviction of Stezaker's theoretical art is that
Language, the 'assertioric methodology', recognition of problems in the first place. So, by providing a framework for the conduct
theory becomes important in the programme of whilst theoretical and analytical art might, in conjoinedly of theory and practice (and also
assertion. Atkinson has remarked: asserting a teleological process for art, be criticism) the 'objectivity', affirmed implicitly
'... these models (Art & Language models) affirming implicitly the problem-solving nature in the conventional theory-practice separation,
require either an art-ambience actual or of their art-works, it seems that the lack of can be avoided, thus instating a new ontological
theoretical, or a public declaration of their art- clarity of prior formulations and constructs, norm for art-practice viz that of intentionality.
relevant status in order that they definitely be within art-activity, has meant that question- In a sense, and with hindsight, the
identified as intending to count as art-works' begging logically precedes problem-solving, mainstream art-practice since Duchamp can be
(`Concerning Interpretations of the historically. regarded as a precedent to the 'conjunction of
Bainbridge/Hurrell models').18 The function For Art & Language the process in which they theory and practice' prescribed by Stezaker,
of theory, as here envisaged, is thus in framing are explicitly engaged is in the building of a new and implicitly affirmed (in certain
the ambience of context of a thing, and more paradigm, with such works as 'Declaration interpretations) by Art & Language. Where
specifically the art-ambience or art-context of Series', `Sunnybank', `M.I.', 'Lecher System' Stezaker is concerned to reject the tenets of
something: 'What is required is some stable and 'Theory Of Ethics'. The point, at this time, post-Duchampian Art, it is also certainly true
accommodation of indeterminate (open) for Art & Language is not whether or not these that he is incorporating the aspect of this area
concepts which leave open the character of an works, within their theoretical standpoint, of art-activity, which represents a precedent to
individual, which nonetheless facilitates validly achieve the status of art-works, simply the theory-practice relation he prescribes.
individuation on some occasion. And there is because at this time there are no constitutive Duchamp himself, after all, was the first
the possibility of building into the sense of an principles for art availed in Art & Language artist to seek out parameters for his own
instantial that it is a restriction of some wider theory. The validity of one or other of the art- activity as a part of the practice of art itself,
concept etc., and there is the possibility of works is in whether or not they contribute to the however crude and common-sensical they may
applying the wider instantial concept. The shift of paradigm and to the construction of a have been, and however damaging the norms
intermediary stage is not always necessary . . . new paradigm for art. One could liken the Art he established may have shown themselves to
and the apparent "discovery" gets the pointless & Language standpoint to the re-building of the be. q
good-housekeeping quality: "synthetic a ship (art) by putting ashore for repairs. ROSETTA BROOKS
priori". And this has some weight in any With Stezaker and his theoretical art the "Declarative methodology' is a term first used in the
decisions as to what may or may not be situation is somewhat different, for he regards Introduction to Art-Language Vol. I. No.1 and the
taxonomically definitive of an Art Object' the nature of the change necessitated, as being alternative term 'assertioric device' is utilized by
Harold Hurrell in 'Sculptures and Devices' published
(Michael Baldwin 'Notes on M.O. precisely in the conventional relation of theory in Art-Language Vol. 1 No. 2 Feb. 1970.
This hierarchy of concepts, which makes up and practice in art. Thus the 'conjunction of 2 'Art-Status Assignment And A Reversal Of Post-
analytical art's proposal for theory, can be theory and practice in the same teleological Duchampian Priorities' (Intro. to `art-works') 1969.
3 Atkinson characterized the process of conceptual art
regarded as an affirmation of the efficiency of directives' means that the constructive in terms of such ascents to 'meta-positions' with
contextual issues; and this is well expressed by conjectures or theoretical constructs, which respect to the last.
Atkinson: 'how one does one's singling out make up the (historically) compatible aspect 4'Priorities I' Frameworks Journal Vol. I No. 1.
First explicitly forwarded in 'art-work' (1969) and
determines what (is) singled out'. of his work, contribute to art and are a part of Fountains I-V (1968).
Two alternative functions for theory are thus that realm. Items of theory thence, within his 6 Colston Sanger makes this point in comparing
elucidated in the two standpoints, within imposed subjectivity, become items of the realm analytical so-called and theoretical art in his paper
`Theoretical Art' delivered at Gallery House London
`theoretical conceptual art'. The difference in of art. This means that they must be self- in October 1972 (Gallery House Press).
methodology is further manifest in the natures consistent i.e. they must embody what they See `Trimodality' (Priorities II) Frameworks
of the consequent art-works, which have issued prescribe. Works like art-workn, Fountains Journal Vol. 1 No. 2.
8'Two Approaches' by John Stezaker, published in
from Stezaker and Art & Language. I-V, o (a-f) and five inherent predicables the 'New Art' catalogue (A.C.G.B. 1972), for a
The art-works of Art & Language tend to be serve to evince and exhibit this necessity, discussion of the self-referential consistency demand.
9 See footnote 3.
hypothetical and achieve their status as such, whilst, at the same time, fulfilling it. They are 10 'Introduction To "Categories",' by John Stezaker
by being so-called or theoretically so-framed. individuated as items of a 'constructive (S.A.G.B. 1972).
Those of Stezaker are more elusive, their programme' (as theoretical constructs), which 11 Published in Art-Language Vol. 2 No.1 1972.
ontological status or (thingness' being attain to their explicit status as art-works by 12 From 'Theory For Art' 1972.
13 First published in Art in America Oct-Nov. 1965.
recognized only after 'art-status' is firstly virtue of the 'ends' or 'objectives' to which they 11 From Pour Un Nouveau Roman 1956.
understood. The function of his theory is in attain and which characterize the framework or 13 `Introduction By The American Editor' to Art-
Language Vol. 1 No. 2.
elucidating the constitutive principles system to which they belong. The situation for 16 'Theory For Art' 1972.
applicable to the realm of art which he Stezaker can be likened to rebuilding the ship 17 The reversal of descriptive theoretical conceptual
presupposes in forwarding art-works. The according to alternative specifications whilst orderings is talked about by Stezaker in 'Art-Theory:
constitution of the realm must first be remaining afloat. A Branch Of Philosophy Or An Integral Aspect Of
Art-Activity ?'
appreciated before the manner of individuating `Meaning' is asserted as a requisite to art- 19 Published in Art-Language Vol. 1 No. 2.
278