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Post-Modern Times Stephen Smith Editor Publisher’S Note Zeljko Kojcic

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Post-Modern Times Stephen Smith Editor Publisher’S Note Zeljko Kojcic Founding Publisher Post-Modern Times Stephen Smith Editor Publisher’s Note Zeljko Kojcic here have always been artists Copy Editor and connoisseurs who have Chris Galford striven to reflect upon their appreciations and acts, unhappy Editor-at-Large Tuntil they have understood and justified Brent Stauffer what they were doing. Contributing Writers Dick Davison Dewitt H. Parker Laura Eliza Enrique The Principles of Aesthetics Anna Marie Hazenberg Michael Paraskos Contributing Artists Daniel Bilmes here does one find the morphemes of a philosophy of Paul Bond Wart? We could start with the word “art” itself. As many Ron A. Cheek subcategories of art are neatly defined, painting has been Taner Ceylan co-opted into the general meta category and has found itself without a distinct identity. Philip R. Jackson Pick up a book on the history of music and you will almost Regina Jacobson certainly find that it begins and ends with examples that Steven Kozar can easily be classified as music. The typical survey on the history of art, on the other hand, will begin with painting, Tom Martin sculpture and architecture and end with any of the infinite Eloy Morales possibilities that fall under the nebulous term of conceptual art. Admittedly, this can be traced to the painters of the Alvin Richards early twentieth century whose experiments with mediums Robin Cole Smith eventually abandoned painting altogether. But the result Steve Smulka has been the bringing along of everyone who has ever taken brush to canvas. Tjalf Sparnaay Post-Modern Times moves beyond this quirk of history and language and returns to the core philosophical questions Art Direction that are specifically raised by painting. After achieving a Stephen Smith Fine Art certain degree of mastery over the medium, where does one (205) 305-1451 look for deeper meaning? One might suggest subject matter, Shipping/Mail or in the case of Michael Paraskos’s theories that he refers to as 12 Hill Street the New Aesthetics we find another intriguing grounding for Odenville, AL 35120 our inquiry—process. — Stephen Post-Modern Times: the journal of aesthetics and art history is an independent publication of the Birmingham Free Press. All within copyright © 2013 by the individual creators. No part of this publication may be reproduced in any manner without written permission from the copyright holders. ISBN-13: 978-0615858579 ISBN-10: 0615858570 PAINTING Cover: Tjalf Sparnaay, BMG Fried Egg, 31.5 x 31.5 inches, oil on linen 2 Volume 1, Number 2 Eloy Morales Harriet with Purple Hair 47.25 x 47.25 Inches oil on canvas 3 by Michael Paraskos The New Aesthetics sychologists tell of a condition Faced with this the logical position beauty or prettiness, it meant the act Pcalled Stockholm Syndrome in for anyone wanting to propose artistic of experiencing the world through the which a victim of abuse will identify values that are not conceptualist is to physical senses. The ancient Greeks so much with the abuser he comes to become a kind of nihilist, rejecting the themselves contrasted this with concep- believe the abuse is justified. We could art world completely. Out of that rejec- tualism, or rather mathesis, which meant argue that art suffers from Stockholm tion a new set of possibilities has space conceptualizing an idea of the world in Syndrome. After a century of abuse at to emerge. This is what motivated the the mind. the hands of Marcel Duchamp and his British artist Clive Head and myself in An aesthetics based on aisthesis seems heirs many of the anti-art principles that 2007 when we found ourselves in the to fit far more fully the artistic process underpin conceptualism are, paradoxi- somewhat comic position of trying to than conceptualist theory, or even his- cally, accepted by artists who claim to teach art at a summer camp in southern toric aesthetic theory, as it focuses at- oppose and even despise conceptual art. Germany to a group of students who tention on material and physical things. Take the idea that art is about some- spoke no English while we no German. This starts with the artist experiencing thing. The phrase “my art is about” is a Forced back on ourselves, our conver- the physical world around them and this common one, but by saying it we turn sations coalesced into a series of pithy provoking a desire or need to respond. art into a form of concept illustration. sayings on the nature of art, later pub- For artists that response is highly physi- When we say my art is about my feel- lished as The Aphorisms of Irsee. In these cal in the act of painting, for example, ings, or my memories, or a political or we sought to summarize a set of basic but it is also highly material in the art- social event, what we really mean is here principles on art, whilst also cracking a ist’s engagement with color, brushes, is my idea and here is my illustration few jokes. In both cases this was an anti- canvas, linseed oil and turpentine. Each of it. In that there is no difference with conceptualist act, setting out an alter- of these assaults a different sense and basic conceptualism. requires a unique physical This suggests there is a se- We can no longer say response. It is also physical rious problem in pitting one- and material in the final self against conceptual art, a work of art is about outcome of the process—the not because a lot of artists painting, sculpture or other and art lovers do not share a something, and instead have work that is produced. dislike of conceptualism, but All of this should seem because many of them are to acknowledge it is the obvious to an artist, but con- unwittingly corrupted by con- product of an unpredictable trast it to the desensitized ceptualist thinking. If we dis- and dematerialized work of like conceptualist art because development or process the average conceptualist. it illustrates pre-existing ideas Also compare it to the no- we inevitably dislike a lot of tion of having an idea and apparently non-conceptualist art be- nate basis for art, while also undermin- illustrating it. An artist in this New Aes- cause it too illustrates pre-existing ideas. ing through humor the po-faced tedium thetics scenario might have an initial This is particularly apparent in pho- of so much conceptualist writing. impulse to make something because of torealism, where very few practitioners Yet what is important about the an idea, or a feeling, or event, but the consider themselves conceptualists. Aphorisms is not that it oppose concep- unpredictable nature of the aesthetic But copying a photograph, or even a tualism, it is the emphasis on setting a process, and the constant engagement manipulated digital image, is by its na- positive agenda for art irrespective of with the material stuff of art, means that ture a conceptualist act, a repetition of conceptualism. We came to call this initial impulse is at best highly modified a pre-existing idea, even if we use paint. agenda the New Aesthetics. As it devel- and possibly left far behind. In truth we Indeed, European painters such as Ger- oped we returned to the origin of the can no longer say a work of art is about hardt Richter have built a career on word aesthetics, which in its ancient something, and instead have to acknowl- exploring this conceptualist aspect of Greek form was aisthesis. Unlike the edge it is the product of an unpredict- photorealism. modern word, aisthesis did not mean able development or process. 4 Clive Head seeks a very credible response to his experience of the city. His work is underpinned with drawing to constitute space and form, but he rejects photorealism, conventional perspective and academic drawing. © Clive Head, courtesy© Clive Fine Art, Marlborough London Clive Head Artist Descending a Staircase 75 x 104 inches oil on canvas The evolution of the New Aesthetics up with a highly materialist art. Instead, takes different artists in different direc- is ongoing too, attracting the interest of again as in Orthodox Christian art, we tions. This suggests it is not a doctrine others, most notably Alan Pocaro, an seem to discover or create a material ob- or style, but a definition of the artistic art educator in Chicago, and Pierluigi ject that is both part of this world and process itself. Nonetheless, with its em- Sacco, a well known writer on art in Ita- transcendent or otherworldly. This has phasis on direct and ongoing engage- ly. It has also led to some surprising rev- come to underpin how Clive sees his ment with the physical world around elations about art. One of these we are paintings, and is increasingly a feature us, the New Aesthetics creates a theo- working through now is the idea found in my writings on art. retical environment in which figura- in Greek Orthodox Christianity that by Of course, the New Aesthetics is not tive art can flourish the like of which placing such an emphasis on physical in itself a justification for figurative we have not seen in the art world for and sensory experience we do not end art. It is an open-ended process that many decades. 5 Alvin Richards www.alvinrichard-art.blogspot.com A Closer Look at the Titanic 9 x 12 inches acrylic on gessoed hardboard text provided by the artist y artwork tends to gravitate towards a higher form light, contrast and composition. It is important that I con- “M of Realism or Hyperrealism. Subject matter is ev- nect with the subject matter on a deeper level.
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