Hluch - Kevin A. on sat 9 aug 97
Gavin, released from his cell after bail was posted by the
director of the AGPG, was most pleased to be back in his Federally funded
studio space. But his pleasure was tempered by his jail cell realization
that all works of craft were externalized translations of objective
reality that served to refold Beauty back into a lived, on-going reality.
A lifetime (brief as it was) production of non-dys-un-functional
art work was now difficult for him to contemplate. This was work that
knew no connection to anything except its superficial sentient
attributes. How different was this work from practically any random
subjective set of stimuli that he encountered day in and day out? How
different, indeed, was it from a heaping, steamy pile of dog shit? His
foray into Platonic idealism in college only mocked his present state of
mental disrepair. What was the sense of objectifying a subjective
thought system like Idealism in the art of temples, sculptures and pottery
if subjectivity was the gaol in which human consciousness was imprisoned?
Wasn't the art work of classical Greece the closest objectification of a
subjective idea that ever existed? The more he mused on the subject the
more these flaccid ideas became the object of his misery. Languishing in
his luxurious studio he thought, "I'm a virtual prisoner of my own
consciousness and this is not improving my lifestyle one iota! And
furthermore, I wholly object to subjugation by this this Avant-Guarde
hypocrisy!" Finally, as an artist still-born in the ward of
federally santioned and permissible art, Gavin felt like a true
revolutionary.
Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA
e-mail: kahluch@umd5.umd.edu
On Wed, 16 Jul 1997, Dan Wilson wrote:
> ----------------------------Original message----------------------------
> C. Greenberg once stated that evaluating a work of art is essentially an
> evaluation of the experience of the work of art. Certainly a subjective
> view which dominates today. In fact, this view will prevail until forces
> begin to oppose it. But what forces? It could be said with confidence that
> all works of art are subjective translations of objective reality,
> externalized. The result is that these translations because of their
> subjective grounding are virtual representations of experience. This
> process has created a system in which the forms of experience become
> virtual and their models grounded in memory. The same can be said about
> beauty.
>
> Dan Wilson
>
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