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20 pages, 335 KiB

Open AccessArticle

The Difference of Indifference: Marcel Duchamp and the Possibilities of Dialogical Personalism

by Stephen M. Garrett

Religions 2024, 15(4), 438; https://doi.org/10.3390/rel15040438 - 31 Mar 2024

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Joseph Kosuth, one of Concept Art’s influential practitioners, credited Marcel Duchamp in an important 1969 essay, “Art After Philosophy”, with instigating the shift from the visual to the conceptual by means of indifference and dematerialization. Duchamp’s approach to art was not limited, however, [...] Read more.

Joseph Kosuth, one of Concept Art’s influential practitioners, credited Marcel Duchamp in an important 1969 essay, “Art After Philosophy”, with instigating the shift from the visual to the conceptual by means of indifference and dematerialization. Duchamp’s approach to art was not limited, however, to the realm of artistic intention but also included the (re)contextualization provoked by his readymades. This (re)contextualization elucidated the embodied, dialogical encounters of the artist-artwork-audience, what I identify as an “aesthetics of difference”. This designation sets forth a framework of meaning that draws upon a burgeoning subset of early-twentieth-century personalist philosophy called dialogical personalism in order to offer a more suitable plausibility structure than the usual explanations of Duchamp and his approach to art, which typically revolve around nihilism, absurdity, and a solipsistic understanding of freedom. In doing so, Duchamp’s artistic approach retains not only a more viable ontology for continuing to question the nature of art, but also has important epistemological and ethical implications. Full article

(This article belongs to the Special Issue Conceptual Art and Theology)

9 pages, 218 KiB

Open AccessArticle

The Rothko Chapel: Profane or Sacred Space?

by Mark Allen

Religions 2023, 14(7), 853; https://doi.org/10.3390/rel14070853 - 29 Jun 2023

Viewed by 1419

Abstract

Despite the atheism of renowned abstract expressionist painter Mark Rothko, the artist was commissioned by Christians to create a sacred space that was originally intended to be used by religious believers: the Rothko Chapel in Houston, Texas. The project started out as a [...] Read more.

Despite the atheism of renowned abstract expressionist painter Mark Rothko, the artist was commissioned by Christians to create a sacred space that was originally intended to be used by religious believers: the Rothko Chapel in Houston, Texas. The project started out as a collaboration between Rothko and another atheist: famed architect Phillip Johnson, who designed several prominent religious spaces throughout his distinguished career. While Johnson removed himself from the Chapel project early on, Rothko would have carried his conceptual vision all the way to the end if it were not for his tragic suicide just prior to the Chapel’s completion. Using as a guide the criteria for sacred space set forth in the classic work The Sacred and The Profane by famed historian Mircea Eliade, I will consider the question of how a religious space designed by non-believers can be rightly considered sacred, as well as ways in which it falls short. Full article

(This article belongs to the Special Issue Conceptual Art and Theology)

18 pages, 853 KiB

Open AccessArticle

The Neglected Place of “Totems” in Contemporary Art

by Aixin Zhang

Religions 2023, 14(6), 810; https://doi.org/10.3390/rel14060810 - 19 Jun 2023

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Abstract

The religious nature of Joseph Beuys’ works was ignored or intentionally avoided by mainstream criticism since his artistic practice was ridiculed for its potential spirituality. It is argued that Beuys’ works are work meditations on the issues of potential ego in totemic art, [...] Read more.

The religious nature of Joseph Beuys’ works was ignored or intentionally avoided by mainstream criticism since his artistic practice was ridiculed for its potential spirituality. It is argued that Beuys’ works are work meditations on the issues of potential ego in totemic art, which are frequent topics of theological concern. For example, what is the nature of our consciousness after death, and how does it relate to the consciousness of others? Beuys’ conceptual artworks reveal his engagement with the “witchcraft etiquette” of totemic art and his exploration of theological questions such as the relation between human consciousness and divinity, the role of sacrifice and resurrection, and the meaning of self-awareness. In other words, we can draw inspiration from the theological theories of Alfred North Whitehead and Georg Wilhelm Friedrich Hegel to examine Beuys’ choice of conceptual art through the lens of his deep self-consciousness of totem worship. In general, Beuys’ works pose an important question: how can we awaken our chaotic consciousness to new or forgotten sprouts which may rejuvenate our existence in the world? Full article

(This article belongs to the Special Issue Conceptual Art and Theology)

15 pages, 8449 KiB

Open AccessArticle

Art Together, Prayer Together: Relational and Revelatory Practices of Joseph Beuys, Dietrich Bonhoeffer and Leslie Iwai

by Meaghan Burke

Religions 2023, 14(1), 24; https://doi.org/10.3390/rel14010024 - 22 Dec 2022

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Abstract

This paper investigates a theology of prayer embedded within social and artistic practice. It considers how conceptual art broadened social possibilities for art, and how for Joseph Beuys and later Leslie Iwai, these possibilities probe spiritual realities. Beuys’ democratic methodologies, considering everyone as [...] Read more.

This paper investigates a theology of prayer embedded within social and artistic practice. It considers how conceptual art broadened social possibilities for art, and how for Joseph Beuys and later Leslie Iwai, these possibilities probe spiritual realities. Beuys’ democratic methodologies, considering everyone as performing the world-shaping work of the artist, were central to his practice and described by Beuys as representations of Christ. In Life Together, the artist’s contemporary, Dietrich Bonhoeffer offers his own approach to Christ’s presence within sociality. The book reflects on his time directing a seminary where communal life was not only shaped by spiritual exercises like prayer, but also enriched by the arts. Consequently, one may read Life Together as grounding for socially and spiritually attuned artistic endeavours. This has been the case in Leslie Iwai’s conceptually and communally motivated artistic practice, which has developed alongside prayer practices and her own readings of Life Together. Social-spiritual features of Beuys’ conceptual art—seeing Christ and one another concurrently—are extended in Bonhoeffer’s articulation of prayer—not only revealing God and each other but also a means of presenting one another to God. Affinities between conceptual art and prayer emerge: both may be disclosive, holding together seen and unseen realities. Iwai can be seen to work from a conceptual mode of social-spiritual disclosure, and from consonant revelatory and intercessory practices of prayer echoing those of Bonhoeffer’s Life Together. Full article

(This article belongs to the Special Issue Conceptual Art and Theology)

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14 pages, 271 KiB

Open AccessArticle

Conceptual Art, Theology, and Re-Presentation

by Jonathan A. Anderson

Religions 2022, 13(10), 984; https://doi.org/10.3390/rel13100984 - 18 Oct 2022

Cited by 1 | Viewed by 1903

Abstract

Within the vast and varied scholarship of contemporary art, the relations between conceptual art and religion generally have not received careful investigation. There are, however, potentially quite subtle and complicated interrelations in play here that warrant closer study. This article develops and expands [...] Read more.

Within the vast and varied scholarship of contemporary art, the relations between conceptual art and religion generally have not received careful investigation. There are, however, potentially quite subtle and complicated interrelations in play here that warrant closer study. This article develops and expands such study, first, by clarifying how procedural and re-presentational ways of thinking function in conceptual art, and, second, by showing how these help us to identify six general “logics” within which the interrelations of conceptual art and religion might be reexamined in the histories of contemporary art, both critically and constructively. These six categories are helpful heuristic guides, but each must be substantiated through fine-grained investigations of particular artists and artworks, and each involves “religion” in ways that open into and require particular theological modes of questioning. Therefore, third, this article then turns to a case study of contemporary Belgian artist Kris Martin, focusing especially on For Whom (2012), a work featuring a readymade two-ton church bell that swings on the hour but without a clapper (and thus without sound). Martin’s work consistently re-presents Christian forms and artifacts in compromised states—vacant altarpieces, broken statuary, etc.—invoking histories of European secularization while also retrieving and reactivating theological questions and grammars within those histories. By clarifying these various points of reference, particularly in dialogue with John Donne (from whom Martin borrows his title), this study attends to one instance of a significant interfacing of conceptual art, religion, and theology. Full article

(This article belongs to the Special Issue Conceptual Art and Theology)

18 pages, 327 KiB

Open AccessArticle

The Edge of Perception: Gordon Matta-Clark’s Hermeneutic of Place and the Possibilities of Absence for the Theological Imagination

by C. M. Howell

Religions 2022, 13(10), 920; https://doi.org/10.3390/rel13100920 - 30 Sep 2022

Cited by 2 | Viewed by 1440

Abstract

This article places the conceptual artist Gordon Matta-Clark in conversation with hermeneutical debates within the field of theological aesthetics. By exploring the transformative effect Matta-Clark’s Splitting evokes on spatially related categories, I argue that place is a locus of meaning, and that absence [...] Read more.

This article places the conceptual artist Gordon Matta-Clark in conversation with hermeneutical debates within the field of theological aesthetics. By exploring the transformative effect Matta-Clark’s Splitting evokes on spatially related categories, I argue that place is a locus of meaning, and that absence is a constitutive feature of that meaning. The hermeneutics at play in Matta-Clark have a set of formal features which is in accord with certain positions within theological aesthetics, namely: the particularities of place over the generalities of space, the constitutive role of both absence and presence for perception, and the formative power of these on human identity. A final section argues that while meaning is embedded in place, the imagination retains a vital place in the hermeneutical process through its “imaging” function in events of perception. Full article

(This article belongs to the Special Issue Conceptual Art and Theology)

9 pages, 228 KiB

Open AccessArticle

Going to the Morgue with Andres Serrano: Provocation as Revelation

by Alex Sosler

Religions 2022, 13(6), 562; https://doi.org/10.3390/rel13060562 - 17 Jun 2022

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Abstract

Originally displayed in Paula Cooper Gallery in New York City’s SoHo district, Andres Serrano’s The Morgue series continued the artist’s controversial and transgressive work. Set against a black backdrop in a mortuary, he photographed dead bodies in different stages of decomposition. In this [...] Read more.

Originally displayed in Paula Cooper Gallery in New York City’s SoHo district, Andres Serrano’s The Morgue series continued the artist’s controversial and transgressive work. Set against a black backdrop in a mortuary, he photographed dead bodies in different stages of decomposition. In this article, I borrow from Charles Taylor’s cultural analysis of the secular and Flannery O’Connor’s literary theory of the revelatory power of the grotesque to discuss Serrano’s artistic choices. In essence, I argue that his work is not a desecration of humanity but a stark reminder of the sacralization of humanity. As such, Serrano’s work is not provocative for provocation’s sake, but a provocation to poke holes in a disenchanted age. Underneath Serrano’s images is the question: if this is a heap of flesh, why are you provoked? In a culture that avoids death at all costs, Serrano reminds the contemporary world of their mortality with an updated form of memento mori art. Full article

(This article belongs to the Special Issue Conceptual Art and Theology)

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12 pages, 228 KiB

Open AccessEssay

The Readymade as Social Exchange: Everyday Tactics of Resistance in Conceptual Art

by Arthur Aghajanian

Religions 2022, 13(11), 1078; https://doi.org/10.3390/rel13111078 - 09 Nov 2022

Viewed by 1409

Abstract

Ever since Marcel Duchamp introduced the readymade, the mass-produced object has played a key role in modern and contemporary art. As commodity culture became increasingly dominant in the decades following the second world war, artists turned to the readymade in the context of [...] Read more.

Ever since Marcel Duchamp introduced the readymade, the mass-produced object has played a key role in modern and contemporary art. As commodity culture became increasingly dominant in the decades following the second world war, artists turned to the readymade in the context of two movements that continue to be influential for the art of today: Pop art and Conceptual art. In the work of many contemporary artists, we have witnessed the tendency—inspired by Pop art’s engagement with consumer culture, to heighten the fetishistic nature of the commodity image. Conversely, many artists, influenced by Conceptualism’s methods of relocating and redefining aesthetics, have employed the readymade as a device to explore how objects mediate relationships within specific cultural contexts. This essay examines the implications of both paradigms using the theology of Michel de Certeau as a point of reference. The framework of mystical Christianity found in de Certeau’s writing, particularly with regard to his theory of “everyday practices”, provides a rich interpretation of the work of John Knight and Gabriel Orozco. The conceptual practices of both artists, particularly in the examples studied here, suggest deeper spiritual themes, and demonstrate the applicability of Christian ethics to readings of contemporary art. Full article

(This article belongs to the Special Issue Conceptual Art and Theology)

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