Kunstkritikk og kunstnerisk praksis - Michael Fried, minimalismen, Jeff Wall og Wittgenstein
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Cato Wittusen
Førsteamanuensis, Institutt
for medie-, kultur- og -samfunnsfag, UiS
E-post: cato.wittusen@uis.no
Cato Wittusen’s main philosophical interests concern problems of aesthetics, philosophy – especially of film and photography, and literature. His recent publications include: “What Do you Really Mean?” (Uppsala Philosophical Studies 56/2008), “Hvordan ser verden ut fotografert? Stanley Cavell og den fotografiske modernismen” (Agora 1-2/ 2008), “Å forstå langsomt – Om Wittgensteins litterære metode” (Norsk filosofisk tidsskrift 4/2008), “Wittgenstein’s Distinction between Primary and Secondary Sense Reconsidered” (Journal of Philosophical Research 34/2010, forthcoming).
E-post: cato.wittusen@uis.no
Cato Wittusen’s main philosophical interests concern problems of aesthetics, philosophy – especially of film and photography, and literature. His recent publications include: “What Do you Really Mean?” (Uppsala Philosophical Studies 56/2008), “Hvordan ser verden ut fotografert? Stanley Cavell og den fotografiske modernismen” (Agora 1-2/ 2008), “Å forstå langsomt – Om Wittgensteins litterære metode” (Norsk filosofisk tidsskrift 4/2008), “Wittgenstein’s Distinction between Primary and Secondary Sense Reconsidered” (Journal of Philosophical Research 34/2010, forthcoming).
English abstract
Michael Fried, minimalism, Jeff Wall and Wittgenstein
Wittgenstein’s writings were influential on Michael Fried’s art criticism in the 1960s. An important element of Fried’s criticism was his modification of Clement Greenberg’s theory of modernist painting. In the first part of this paper I will address some aspects of this criticism. I will then present some important aspects of Fried’s critique of the minimalists and their art practice. Fried’s essay “Art and Objecthood” (1967) is important in that respect. In his essay Fried asserts, among other things, that minimalist art exercises a theatrical effect on the beholder, and that this new form of art should be described as a form of theatre that incorporates the beholder in the artwork. Interestingly, the minimalists were also influenced by Wittgenstein’s thinking. Minimalist art appeared as a critique of the high modernist conception of art. I will pay attention to this critique in my paper. Finally, I will discuss a more recent example of the way Wittgenstein’s thinking informs debate about art and aesthetic practice. I will discuss Fried’s way of understanding the photographic practice of the Canadian artist Jeff Wall, using an excerpt from Wittgenstein’s Culture and Value, which appears in his new book Why Photography Matter as Art as Never Before (2008).Keywords:Michael Fried,minimalism,modernism,Jeff Wall,Wittgenstein
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