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Eine andere Art von Schönheit - Ausgesetztsein als Aspekt künstlerischer Praxis

  • This essay engages with an idea that has been sidelined in both anthropology and art, as well as the anthropology of art: beauty. In dialogue with the work of sculptor Douglas White and Gregory Bateson’s anthropological notion of grace in art, I develop a speculative account that tries to find a way past a beauty petrified within aesthetic discourse to bring out the life beauty still has within the everyday as the ability of something, someone, to stop us in our tracks; a small tear in the fabric of ordinary life. I draw on fieldwork and conversations with Douglas White, a London-based artist with whom I worked as an assistant for six months during my current research. In particular, this essay follows the making one work of art, Counsel exhibited in 2007. The story of Counsel falls in two parts; the first tells of Douglas White’s encounter with a pair of burnt-out recycling bins on the streets of South London and the effort he made to acquire them, to bring them into his studio and practice. My interest is in understanding thisThis essay engages with an idea that has been sidelined in both anthropology and art, as well as the anthropology of art: beauty. In dialogue with the work of sculptor Douglas White and Gregory Bateson’s anthropological notion of grace in art, I develop a speculative account that tries to find a way past a beauty petrified within aesthetic discourse to bring out the life beauty still has within the everyday as the ability of something, someone, to stop us in our tracks; a small tear in the fabric of ordinary life. I draw on fieldwork and conversations with Douglas White, a London-based artist with whom I worked as an assistant for six months during my current research. In particular, this essay follows the making one work of art, Counsel exhibited in 2007. The story of Counsel falls in two parts; the first tells of Douglas White’s encounter with a pair of burnt-out recycling bins on the streets of South London and the effort he made to acquire them, to bring them into his studio and practice. My interest is in understanding this sense of value in terms of White’s practice, in its perceptual, embodied and epistemological dimensions, in dialogue with the work of the anthropologist Gregory Bateson. The second half follows these bins journey to the ‘white cube’ of the gallery (O’Doherty 1999) and their domestication within a stable discursive frame that makes good sense of these objects as art. Beauty, in this context of exchange, is what escapes this domestication within interpretative discourse of contemporary art world. The making of ‘Counsel’ as a work of art implicates Doug’s skill as an artist; in the developed, intuitive, perceptual ability to shape and play with the qualities of form within the social expectation and value creation system of the art world (and his own position within it). The framing of the encounter by the conventions of the gallery – its architecture and the attitude of the gallery-goer – are integral to constructing these bins as a work of art; as objects to puzzled over and made sense of within the tradition of art. In the critical terms, my account runs the danger of ‘fetishizing’ the object of art, the focus on its ‘beauty’ occluding its conditions of possibility within the social and institutional framing of contemporary art in London. Nevertheless, the concern in this essay is with a certain irreducible remainder to this sociological analysis, a certain force of a thing (whether labelled a work of art or not) – what I hesitantly call its beauty - that cannot be fully explicated within either the logic of interpretation that characterises the art world or the over-arching social structures that determine taste. It is a force that resists these bins’ interpretation (and commodification) as art, which, paradoxically, makes them work as objects of art.zeige mehrzeige weniger

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Metadaten
Verfasserangaben: Marc Higgin
URN:urn:nbn:de:kobv:b170-12746
DOI:https://doi.org/10.25624/kuenste-1274
Übergeordnetes Werk (Mehrsprachig):Wessen Wissen? Materialität und Situiertheit in den Künsten
Verlag:Wilhelm Fink
Verlagsort:Paderborn
Dokumentart:Teil eines Buches (Kapitel)
Sprache:Deutsch
Datum der Veröffentlichung (online):27.04.2020
Jahr der Erstveröffentlichung:2018
Veröffentlichende Institution:Universität der Künste Berlin
Datum der Freischaltung:06.05.2020
Freies Schlagwort / Tag:Materialität; Prozessualität
Anthropology of art; material agency
Erste Seite:M115
Letzte Seite:M132
Fakultäten und Einrichtungen:DFG-Graduiertenkolleg 1759 der Universität der Künste Berlin "Das Wissen der Künste"
DDC-Klassifikation:7 Künste und Unterhaltung / 70 Künste / 700 Künste; Bildende und angewandte Kunst
Lizenz (Deutsch):Creative Commons - CC BY-ND - Namensnennung - Keine Bearbeitungen 4.0 International
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