Regarding the Ceremony of Art Presentation

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The Ceremony of Art Presentation

 

Being the fourth dimension of meaning somewhere between Sign, Signified and Signifier.

 

If the sign is the art piece, the signified is the referent and the signified the meaning, there is an extra layer of meaning between Sign and Signified which takes place during artistic presentation.  To wit, the meaning in Ad Reinhardt’s Abstract Painting is not on the canvas itself, nor was it during the painting’s creation, but rather lies in its presentation as an absence.  This absence is seen often throughout the Twentieth-Century in response to Wittgensteinian silence, which in itself is demonstrated in Ludwig Uhland’s Count Eberhard’s Hawthorn whereby the referent in the poem is the cutting, or sprig.  The fact that the meaning of the sprig is never revealed is where Wittgenstein find’s the essence of philosophical truth.  Rather than some mystical, ineffable essence, absence is, linguistically, that which has the most power in being shown rather than said.

 

Count Eberhard Rustle-Beard,

From Württemberg’s fair land,

On holy errand steer’d

To Palestina’s strand.

 

The while he slowly rode

Along a woodland way;

He cut from the hawthorn bush

A little fresh green spray.

 

Then in his iron helm

The little sprig he plac’d;

And bore it in the wars,

And over the ocean waste.

 

And when he reach’d his home;

He plac’d it in the earth;

Where little leaves and buds

The gentle Spring call’d forth.

 

He went each year to it,

The Count so brave and true;

And overjoy’d was he

To witness how it grew.

 

The Count was worn with age

The sprig became a tree;

‘Neath which the old man oft

Would sit in reverie.

 

The branching arch so high,

Whose whisper is so bland,

Reminds him of the past

And Palestina’s strand.

 

In Abstract Expressionism this thinking is key to an understanding of the Modernist urge to achieve the inexpressible, and we also see it in Conceptual Art as it directs our attention away from formal qualities and focuses instead on that which is absent from the work.

 

The question is not lost on me why I do not practice more of what I preach, and the answers range from the self-deprecating to the absurd.  In the first instance, it must be said that absence is perhaps the single most fragile artistic material, and must be used only by skilled hands.  My hands are not as skilled as I would prefer.  Secondly, absence is also absolute faith in the unspoken, and here matters become slightly unstuck.  Absolute faith and truth are in no way the same thing, although both are subject to interpretation – particularly in an age which distorts the fundamentals of both physical and abstract fact.  That which remains unsaid naturally resists Propositional Logic, and as such is often misunderstood for a negation whereas the thing (again abstract or actual) in actuality stands for something which must be preserved from contemporaneity.  The grief of a fallen soldier’s mother during the First World War cannot be equated with the grief of a teenage heartbreak.  I resist utilisation of the absence because my work is not subjective, nor does it focus on my (or anyone else’s) inner feelings.

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