Abstract
This chapter discusses post-philosophical approaches to (the) art(s). Art of the second half of the 20th Century provided post-philosophers with models for creativity that can alleviate the dehumanizing effects of late capitalism. Following the lead of contemporary artists, some post-philosophers turned to aesthetics as the measure of the workability of their ideas. Joseph Margolis’ criticism of Arthur Danto reveals that there is a cultural naturalist alternative to both modern and postmodern accounts of art’s significance. Margolis also provides a link between the philosophy of art and educational philosophy. The chapter also discusses post-post-philosophical approaches to (the) art(s) and culture, focusing specifically on metamodernism, which is examined both as an artistic-aesthetic sensibility and a philosophical movement. This exploration leads to a discussion of the possibilities of constructing a post-postmodern art(s) education philosophy for the needs of late modernity.
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Notes
- 1.
While early users of the term include historian Arnold Toynbee in 1954 and sociologist C. Wright Mills in 1959, they used it in a different sense than later art scholars (Wilterdink, 2002).
- 2.
When not using this term in Rortian sense, I will write ‘philosophy’ in ‘post-philosophy’ in lowercase.
- 3.
Rorty quotes here Harold Bloom.
- 4.
Connor (2015, p. 42) describes this postmodern focus on the present as a condition in which “the past appears to be included in the present, or at the present’s disposal, and in which the ratio between present and past has therefore changed.” This means the “present of postmodernism has come to seem … stalled” (ibid., p. 43). In contrast, the “presentness to which modernism was drawn was a hair-trigger affair, always on the brink of futurity” (ibid.).
- 5.
Interestingly, Danto (1998, p. 129) mentions as one example of this indiscernibility the difficulty of making a distinction between a “performance by an artist teaching … dancing” and the same person “instructing a group in … dancing.” This seems to suggest that the problem of indiscernibles also applies to art(s) education. This problem can perhaps be solved by treating both art and teaching art as performatives.
- 6.
Two disclaimers might be filed here: (1) Warhol’s boxes were not entirely indiscernible from the original copies of the Harvey design as the former were made of plywood instead of carton, plus Warhol’s appropriations were oversized; and (2) Like Warhol, also Harvey was both an artist and a designer, which means that Warhol may have not appropriated Harvey’s design for an artistic purpose but appropriated it in his own design. In more recent commentaries the artistic status of Brillo Boxes has sometimes been discussed in connection to the work of Mike Bidlo, who appropriates both Warhol and Harvey in his Not Warhol (Brillo Boxes, 1964) (2005).
- 7.
According to Danto (1981), to think about artworks as meaningful leads to the question of what such works are about: another way to say this is that artworks have ‘aboutness’, which makes them ‘intentional’ in the sense that they are meant to refer to something. Note that this is a different kind of intentionality than what Margolis has in mind when discussing ‘Intentional’ properties.
- 8.
For instance, Duchamp’s Fountain only became art after it was accepted to the exhibition of the Society of Independent Artists in NYC in 1917 (even if it was not actually displayed). Yet, this does not make it less art than any other work of its time—or for that matter, any other time. It is a matter of argument whether Danto’s argument against Fountain being aesthetic object holds water (pun unintended), if we accept that aesthetic judgment is culture specific.
- 9.
Cf. the Lyotardian notion of figuration that will be discussed below. To anticipate, Kirsten Locke (2015) has characterized figuration as “a disruptive element that is at the same time within and outside of discourse in general” (ibid., p. 254; see also McKenzie, 2001). When applied to art(s) education, figuration can reveal new possibilities of criticizing the hegemonic discourses.
- 10.
How neglecting these limits may lead into ethical dilemmas has been discussed in the art institutions for a long time. An often-used example in my own country is a 6-second episode in Teemu Mäki’s video work Sex and Death (1988), which is known for what many consider highly inappropriate content, including killing a cat. Considering what has been discussed above, such extreme works can be taken as examples of the postmodern spirit of expanding free expression beyond conventional limits. The artist has later reflected on the significance of this work in an essay (Mäki, 2007).
- 11.
In an early encyclopedia entry, Danto (1967, p. 448) described naturalism as a “polemical notion” that is methodologically monist in its trust in science but also affords ontological variety. As we have seen, this characterization does only partial justice to cultural naturalism, as the latter does not have to give primacy to scientific methods even if it accepts that all inquiries share the same logic.
- 12.
Margolis openly recognized his pragmatist influences. For instance, he stated that “[i]t is indeed the discovery of the hybrid, artifactual existence of the self that, in my opinion, is the ultimate and decisive innovation that the nineteenth century made accessible just prior to the advent of American pragmatism, which flourished at just the right time to seize the idea’s advantage” (Margolis, 2022, p. 109).
- 13.
Today, one can add to this list posthumanism and new materialism(s), to be discussed below.
- 14.
I do not by default agree with Nealon’s (2012) characterization of “post-postmodernism” as “intensification and mutation within postmodernism” but, rather, see the former as a possibility to argue against the claim that ‘the postmodern condition’ changed society, economy, and culture in the late 20th Century in ways that afforded the philosophers to discard modernity as an explanatory basis (see also Toth, 2010). As Nealon bases his argumentation partly on Jameson’s (1991) identification of postmodernism as the cultural logic of late capitalism, the same countercriticism applies to the latter. Yet, I take both writers’ analysis of the change of capitalism to be pointed—for their times.
- 15.
Rancière’s definition of politics is rather idiosyncratic: he calls conventional modes of politics, such as elections and parliamentarism, “police” and argues that “politics” is in fact a transgressive praxis taking place within the structural conditions set out by “policing” (Rancière, 1999, pp. 21ff.).
- 16.
Historically, Rancière locates the advent of the aesthetic regime in the “scenographic revolutions” of the 19th and 20th Centuries that welcomed “images, objects, and performances that seemed most opposed to the idea of fine art” (Rancière, 2009, pp. x, xii). Thus, he insists that such artists as “Louie Fuller and Charlie Chaplin contributed to [the modernist paradigm] far more than Mondrian or Kandinsky”, an observation that helps us to narrate a “counter-history” for “artistic modernity” (ibid., p. xiii).
- 17.
There is an interesting parallel between Rancière’s aesthetic regime and Paul Virilio’s (2007 [1994], p. 63) “age of paradoxical logic” that allegedly ended the “logic of public representation” (italics removed), However, Virilio focuses primarily on the power of telepresence or “the vision machine” to resolve “the reality of the object's real-time presence” and, thus, to count for how “virtuality dominat[es] actuality” and turns “the very concept of reality on its head” (ibid., p. 63, 64).
- 18.
In this and in the subsequent section I lean extensively on Rudrum’s and Stavris (2015) comprehensive anthology of post-postmodern views on (the) art(s) and culture. However, I have also used original references when discussing the details of these views.
- 19.
Samuels (2007) uses early 2000s examples of automation, referring to such technology as PCs and web search engines. It would be interesting to extend his argument to the study of the link between automation and autonomy in the AI age. I leave elaboration of this theme to other forums.
- 20.
- 21.
We can also surmise that hypermodernity is manifested in the hyperculture of the late modern creatives, as described by Reckwitz (2017).
- 22.
An infamous and rather humorous, concrete example of this criticism emerged in 2003, when Stuckists accused Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living, a conceptual work that consisted of a dead 14-foot tiger shark in a container filled with formaldehyde, for plagiarizing another shark hung on the wall of a London electrical shop. To make their point, the Stuckist put the “original” shark on a “New Year Sale” for one million GBP, “a considerable saving” on Hirst’s works—Hirst’s installation reportedly sold for as high as twelve million USD (see A dead shark isn’t art n.d.; Thompson, 2004).
- 23.
Eshelman (2008: Harikumar, 2009) uses Sam Mendes’ American Beauty (“probably the first popular mainstream movie in a rigorously monist mode”; Eshelman, 2008, p. 3) as an example of the double framing. The outer frame of narration in this case makes us to believe that the protagonist can see the transcendent beauty of life after his death, and this is “confirmed in several scenes or inner frames in the movie (most notably in the one with the famous plastic bag dancing in the wind)” (Harikumar, 2009).
- 24.
It seems there are differences in how varieties of metamodernism relate to these changes. Brent Cooper (2017, 2018, 2019a, 2019b, 2020) has discussed three varieties of metamodernism: “Dutch”, “Nordic”, and “Black.” The “Dutch” veriety is represented by the writings collected in van den Akker et al. (2017), many of which present the voices of art critics. The “Nordic” variety has been carried on the shoulders of such influencers as Hanzi Freinacht (AKA Daniel Görtz and Emil Ejner Friis) (2017, 2019) and Björkman (2019). In Cooper’s characterization, the “Dutch school focuses more on new artistic and cultural trends and markers in the twenty-first century and the return of historicity, depth, and affect”, and the “The Nordic School emphasizes developmentalism and political evolution” (Cooper 2019a; he identifies himself with the latter school) (cf. van den Akker & Vermeulen, 2017). Cooper criticizes the former approaches for two reasons: they have “moved from the left beyond the liberal status-quo” and “generally [they] do not theorize race directly or explicitly” (Cooper, 2019b; italics original). In Cooper’s estimate, recognizing the significance of “Black” metamodernism provides a counterweight to the “eurocentric and white bias” of the European metamodernisms (ibid.).
- 25.
Based on the work of the political philosopher Eric Vogelin, Van den Akker and Vermeulen (2017) trace the concept of metaxy to Plato’s Symposium, where it was used to describe the “sense of in-betweenness” of both Eros (love) and heros (the Greek demi-gods).
- 26.
Whether metamodernism looks for total transcendence of nature is open to argument. The spiritual hopes invested in other post-postmodern art movements described above suggest that there is at least a possibility of metamodern art grasping for the unknown or Unheimlich.
- 27.
According to metamodern critics, concrete examples of such artistry are presented e.g., the song “I Will Follow You Into the Dark” by Death Cab for Cutie (Dember, 2013), the films of Wes Anderson (MacDowell, 2017), the novel Beloved by Toni Morrison (Toth, 2017), the sitcom Parks and Recreation (Rustad & Schwind, 2017), the ‘post-postmodern’ imagery of such photographers as Nicholas Hughes, Alina Kinisa, Mike Perry, Nikita Pirogov, Mike Sinclair and Kurt Tong (Eshelman, 2017), the horror film Cabin in the Woods (Ceriello & Dember, 2019) and the Netfix hit series Bridgerton (Šporčič, 2022).
- 28.
Episteme if here understood in Foucauldian way as “unexamined premises that both inform and constrain the way a particular society understands ‘truth’ and ‘knowledge’”, or as “a society's fundamental assumptions about reality, which structure the full range of its cultural activity, spanning the arts, the sciences, and philosophy” (Ceriello & Dember, 2019, p. 44).
- 29.
In this extensive sense, metamodernism has been also applied to educational questions. See Bowman et al. (2022) for a suggestion of how it can help to build a framework for solving wicked problems.
- 30.
The writers behind Freinacht (2017) find the model for such a society from the Nordic countries, which they interpret mainly through the example of ‘Green-Social-Liberalist’ Sweden. It remains to be seen whether the 2022 elected Swedish right-wing government can meet the Nordic metamodernists’ expectations of a well-run state.
- 31.
In this sense, Storm’s metamodernism is parallel to Dewey’s cultural naturalism, as the latter also aims at restoring the continuity between different areas of life that modernity compartmentalized.
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Väkevä, L. (2023). Post-philosophical Approaches to (the) Art(s). In: Considering Deweyan Cultural Naturalism as a Philosophy of Art(s) Education. Landscapes: the Arts, Aesthetics, and Education, vol 35. Springer, Cham. https://doi.org/10.1007/978-3-031-38817-0_4
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