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The Aesthetic Maligned:Duchamp And NewmanIn‘The End Of Art’
A REBUTTAL: In the second chapter of Donald Kuspit’s latest publication, ‘The End of Art’, Professor Kuspit claims (Marcel) Duchamp and (Barnett) Newman “in their different ways, signal the end of fine art. Duchamp clearly wants to deny the finality of aesthetic judgement- but in doing so he denies that there is any such thing as an aesthetic experience…” [1] And “for Newman the aesthetic is tragic and defiant at once” [1]. Duchamp and Newman gave aesthetic representation to what was a greater sweeping brood whom bore the witness, and testimony, of the time when in which the ivory tower completely collapsed. The tower did not succumb to insurgent siege rather it went outmoded And then condemned. A proxy mimetic cybernetic complex protracted it’s self-out as the new mission control. Here the world in which the esthetic exists manifests itself antagonistically, not just around us, but as Merleau-Ponty might have said, at us! Infiltrating our full sensory organism through twisting language and images. Duchamp found this version of his modern man to be a delirious one embodying an impossible persona: absurd and irrational, particularly when positive. In regards to his sexual feelings, in “understanding their rationale,” Duchamp must have found his sexual identity to be a blurred subject. Duchamp tirelessly explored the peripherals of his existence. Under a self-critical lens the object of seduction becomes holographic with even just the consistency of a mirage, Selave’ Mi Amore. The readymade, for example, serves as an icon for the iconoclast standing at the cusp of peripheral expansion, polemic sensibility, and the genius found in simple human observation. The readymade does outsmart the spectator, and the voyeur, every time indeed. This is not a sport, nor a peepshow, of course! The engaged artist, thinker, esthete, will, however, know the temporal configuration present befor... Please login to view comments from other users.
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