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Obraz a idea. Estetyczno-antropologiczne paradoksy sztuki konceptualnej (implikacje ikonoklastyczne)

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Kazimierska–Jerzyk W.

Sztuka i Dokumentacja

2012

issue 6

47-54

When taking into account the iconoclastic implications of conceptualism, we may observe its close but at the same time, warped relationship with aesthetics. I developed this thought after reflecting on Arnold Berleant. Such a view allows one to support the idea of a wider understanding of the notion of conceptual art, which accepts the presence of an art object not only in the form of art documentation, but also as an object included in an aesthetic awareness. One of its main aspects is the problem of the effect (power) of images. The problem of an aesthetic awareness was developed by Joseph Kosuth through a suggestive formula of ‘art as anthropology’. I treat this as a consequence of previous ideas developed by the artist, not as a total turn away from them. As a consequence one may consider as conceptual the attitudes and projects that keep the image in its physical sense and make the creating of images problematic in such a way that the most important seem to be reflections on the notion of art (image). In the article I consider two examples of Polish artists – Jan Berdyszak and Grzegorz Sztabinski. I underline how their activities are involved in certain iconoclastic practices (typical for conceptualism) and with which means they articulate the need to overcome them.

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1 Sztuka i Dokumentacja

1 2012

1 Kazimierska–Jerzyk W.

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Obraz a idea. Estetyczno-antropologiczne paradoksy sztuki konceptualnej (implikacje ikonoklastyczne)