The Challenges Of Being An Artist In A Civilization Looking For Truth
III.
Reality is present in a work of art because art is a type of representation depicting life as it exists. An artist is aware of their self and of the culture around them; in being cognizant of the world, an artist creates what he or she feels, thinks and knows, all of which has been influenced by society. Does an artwork present reality? In the contemporary art world, reality is more abstracted than true to the thing being represented itself. For Foster and Danto, this becomes problematic in terms of trying to find the real and true in art. Danto notes the distinction between art and imitation in contrast to reality and contemporary life; there is a gap between the object’s representation and what actually exists in reality; art is not reality but a representation of the real. When these elements merge, objects get lost identifying themselves as art or as common everyday things. Common everyday things are able to be recognized as elements of the real because society is familiar with these things. However, with abstract art in contemporary society, the distinctive lines between art and the real thing become blurred.
If reality is linked to truth, to Enlightenment, and art reveals a part of this definite truth, then does art actually present reality? Does art reveal truth? How does art relate to reality and representation? Art is a representation of reality and, while it does not claim any absolute truths, it does present an artist’s own interpretation of truth via his or her desired medium.
Adorno, with Horkheimer, focuses on society’s desire to grasp the true and real elements within art, which they call Enlightenment, while mistakenly rejecting myth as its opposing force rather than its critical partner. Danto writes about a work of art as an imitation of the real, a mirror of reality without being actual reality but separate from it. And Foster discusses art’s deception and trickery towards viewers; additionally, he writes how contemporary art tries to exist outside of itself and become super-realistic. Each of these authors addresses important notions regarding society’s reception of art. Adorno and Horkheimer understand society’s struggle to grasp all that is absolute, true and real without being mislead by deceptive illusions. A work of art might project mixed signals amidst the Enlightened sphere but, understanding the true with the untrue allows for society to gain a better perspective and understanding of the real; additionally, it allows for society to better appreciate a work of art which presents an illusion of reality while remaining separate from real life (Danto). This is imperative in attempting to preserve the life of an artwork and to prevent it from being rejected by spectators who fail to actually understand the art object. While Foster addresses the tricking of the eye, which forces spectators to wonder what is being addressed, this deceit is also able to allow for non-biased viewers to conceive of reality, beyond their subconscious, while feeling the expressions emitted from the work. These elements allow for society to accept the real and the representative in a work of art.
Together, these authors are able to discuss society’s differing perspectives of art and truth as they relate, and pertain, to each other. From engaging with art in order to obtain absolute truth to seeing reality in an imitation of the real, society which determines the survival of a work of art must reckon with the various identifications and abstractions which art presents. Deciphering the real and true within these abstractions allows for contemporary art to reveal its self to an audience open to receive. Art has different expressions for each viewer but to allow for each viewer to have their own revelation and experience makes the work express its greatest aura, emotion and truth content. If reality is connected to truth, and art is capable of revealing truth, then art is able to engage with its audience and present its perspective of reality to them.
Work Cited:
- Adorno, Theodor W., Gretel Adorno, and Rolf Tiedemann. “Theories on the Origin of Art.”
Aesthetic Theory. Trans. Robert Hullot-Kentor. Minneapolis: U of Minnesota, 1997. 325-31. - Danto, Arthur C. “Works of Art and Mere Real Things.” The Transfiguration of the
Commonplace: A Philosophy of Art. Cambridge, MA: Harvard UP, 1981. - Duchamp, Marcel. “The Creative Act.” Salt Seller; the Writings of Marcel Duchamp.
New York: Oxford UP, 1973. - Foster, Hal. “The Return of the Real.” The Return of the Real: The Avant-garde at the End of the
Century. Cambridge, MA: MIT, 1996. - Horkheimer, Max, and Theodor W. Adorno. “The Concept of Enlightenment.” The Dialectic of
Enlightenment. New York: Herder and Herder, 1972.