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Contemporary Art: the Key Issues

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Contemporary Art: the Key Issues GARY C. WILLIS Contemporary Art: The Key Issues Art, philosophy and politics in the context of contemporary cultural production. Dissertation Gary C. Willis Submitted in fulfilment of the requirements of the degree of the 'Doctor of Philosophy' (by dissertation and creative work). May 2007 Exhibition: Melbourne - Moderne Maroondah Art Gallery Feb - March 2007 See 'Exhibition: MELBOURNE - MODERNE' document School of Culture and Communication University of Melbourne CONTEMPORARY ART: THE KEY ISSUES Acknowledgements Firstly, I would like to thank Associate Professor Charles Green, who facilitated my entry into the PhD program at Melbourne University and directed my anxious research toward this rigorous structure. I am particularly grateful for his support in being awarded an Australian Postgraduate Award. Secondly, I would like to thank Dr. Barbara Bolt for her patience, enthusiasm and guidance through the intricacies of the research process, without which the challenge of this thesis would have proved impossible. I am especially grateful for her insights into the work of Martin Heidegger, which have proved pivotal in this thesis. Most importantly, I am deeply grateful for the financial support of the Australian Post-Graduate Award, without which this thesis would not have been possible. I am also very appreciative of the early encouragement and support of Professor Angela O'Brien, which affirmed my commitment to this challenge. There are many friends and colleagues whose love, patience, loyalty, encouragement and support have proved invaluable. This list includes, my parents, June and Cash Willis, Dr Karmananda Saraswarti, Dr. Kate Challis, Ronnith Morris, Damian Smith, Sam Fisher, Hugo Guthrie, Kerry Robinson, Dr. John Waller, Dr. Karen Christiansen, Gerry Bell and Professor Emeritus Bernard Smith. It was a special pleasure to have worked with Julian Savage whose subtle wit and generosity of spirit made my experience on the SCATHARSIS committee, within the School of Creative Arts, such a rich and memorable one. I am particularly grateful to Dr. Paul Gruba for his inspirational guidance in restructuring my thesis in the transition from its narrow concern with the specific issues facing the practice of painting, The Painter's Tongue, to its current concern with the broader field of contemporary art, Contemporary Art: The Key Issues. Finally, there have been many antagonists, adversaries and foes whose critiques, doubts and disputes obliged a steep learning curve in this critical process. Although many of them have been imaginary and all of them go unnamed, I remain most grateful to them. CONTEMPORARY ART: THE KEY ISSUES. Declaration This is to certify that (i) This thesis comprises only my original work towards the PhD. (ii) Due acknowledgment has been made in the text to all other material used. (iii) The thesis is less than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices as approved by the RHD Committee. Signed; Gary C. Willis ii CONTEMPORARY ART: THE KEY ISSUES. Abstract This submission comes in two parts; the written dissertation, Contemporary Art ;The Key Issues, and the exhibition Melbourne—Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. 1. Dissertation; Contemporary Art: The Key Issues. This research has been impelled by a personal need to unravel the confusing conditions of contemporary art. Contemporary art can come in a myriad of different forms, however most historical and twentieth century theories of art now prove irrelevant to contemporary art production. Many contemporary artists, curators and theorists argue the 'concept of art' is superfluous to the political role which falls to contemporary art. The question this raises for the prospective student of contemporary art practice becomes; what relevance is the study of art now? This research examines the problem from the broadest perspectives looking at concepts of canon, contemporary theoretical and curatorial directives as well as the political and economic conditions determining contemporary art production. Concurrently, it turns to philosophy to trace the etymology of art in a bid to locate the linguistic parameters of the concept. Eventually it draws a significant parallel between the most contemporary notions of art's political responsibility and the most ancient conception of art's function. It argues that art's role is to open up new cultural spaces and enable new ways of ‘Being’, although art's primarily subjective motives are bound by the objective conditions of social knowledge and language. We could say that art practice illuminates gaps in knowledge and institutes its understandings through a performative act of language. Significantly, these criteria bear remarkable likeness to the ‘contribution to knowledge’ conventions common to all public funding criterion. However these criteria are secondary to art's instinctive objectives. Where art differs from other disciplines is in its existential conception of time, its instinctive methodology and its subjective motive. The performative act of art serves to open an existential way forward for the artist, in light of a subjective conception of truth which is capable of establishing a resonance within the broader social context. iii CONTEMPORARY ART: THE KEY ISSUES. The problem facing art practice is that within the discursive field that constitutes contemporary art, ‘the concept of art' is becoming irrelevant. Aesthetic practices are being displaced by ethical public production and contemporary art practice is no longer determined by art’s historical conventions and disciplines. The history of art in general and the history of twentieth century modernism in particular, now prove unreliable platforms for the study of art practice. Since the sixties art’s boundaries have been extended to embrace the broadest spectrum of cultural activities and knowledge production disciplines; new technologies abound. However, this exponential growth in the reach of art's umbrella has brought with it new limits. Faced with the glut of cultural practices which now vie for representation, contemporary arts institutions rationalise funding in terms of their own political objectives and ethical responsibilities. It is within this politically determined field that art’s historical conventions now find themselves marginalised. Art's traditional materials have been replaced by mass-media technologies, haptic modes of production have been displaced by more rigorous research methodologies and individual subjectivities are secondary to collaborative cultural production. For those philosophers who read the ancient Greeks, there is a clear demarcation between the production of culture and the production of art. Culture is determined as the community production of a better future, while art is an individual intervention in the hegemonic thrust of culture, to bring existential truth to light. Art's function is to keep culture open to existential knowledge and generational change. At a time when historical conceptions of art begin to fail, this pivotal difference between art and culture could prove useful. 2. The Exhibition; MELBOURNE - MODERNE Melbourne — Moderne, consists of a series of large oil paintings set to demonstrate painting's capacity to reflect upon a gap in knowledge, raise issue and engage a broad audience at a time when the practice of painting is widely discounted as inappropriate to the political objectives of contemporary art. These paintings establish a local vocabulary of architectural and artistic reference to align neo-liberal ambition and rising class divisions, with the preconditions of terrorism. Melbourne — Moderne is layered with reference to both art and popular culture and concern the 'cinematic blossoming' of all the aspirational classes might desire of sociability. Specifically referencing Marcel Duchamp's master work, The iv CONTEMPORARY ART: THE KEY ISSUES. Bride Stripped Bare by her Bachelors, Even (1915-1923), these paintings raise the spectre of the ‘the bride’ as a metaphor for the goal of artistic ambition, the temple of art and culture, the National Gallery of Victoria. The references contained in 'The Batchelor' painting set the frame for discourse in terms of Laocoõn, in this case an older Laocoõn, which signals a discourse with Clement Greenberg's essay on the limits of poetry in painting Toward a Newer Laocoõn, and equally a discourse with the original Laocoõn, the Greek marble sculpture by Hegesandros, Athanedoros, and Polydoros; circa 150-175 B.C. Laocoön is the sculpture of the sons of Laocoön who were devoured by Sea Serpents sent by Poisidon to avert their warning regarding the Trojan horse. Robert Graves suggests the snakes were sent to cleanse the boy's ears to grace them with the power of prophetic vision.1 In this contemporary world where the Macheavellian art of corporate war is backed by the law and their agents, the war of the gods becomes a battle of ideologies, a battle of wills and wits, in a world of Spy Vs Spy during a time global of terror. In Duchampian terms, TheBachelor's impotent game becomes to take shots at 'The Bride'. In this regard Toward an Older Laocoon sets up the conditions of the ‘first person shooter’, common to military, game and popular cultures alike, to confront the viewer with the warning echoed in the film The Matrix (1999 - 2003); who is responsible for these terms of total war?
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