Heidegger Reframed: Interpreting Key Thinks for the Arts (Contemporary Thinkers Reframed)
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It is frequently commented that Heidegger writes impenetrable texts that are difficult to read and comprehend, but he also, as Barbara Bolt demonstrates in this clear, original guide to his oeuvre, provides an 'artists' guide to the world'. Heidegger Reframed grounds Heidegger's writings in the critical questions confronting contemporary visual artists and students of art. Barbara Bolt takes the most relevant of his texts, including his most famous work, Being and Time, and sets out ways of thinking about art in a post-medium, digital, technocratic and post-human age. She does so through the frame of works by international artists, including Sophie Calle, Anish Kapoor and Anselm Kiefer. A glossary of terms completes this full and clear companion to Heidegger.
not just one they world. The artworld operates as a subculture within the broader cultural world, and like other subcultures has its ‘way of the they’. The way of the avant garde has traditionally been concerned with breaking rules or putting rules and conventions (and audiences) in crisis. Artists break rules. That’s what they do. In this context Calle’s work does what artists do. Far from being shocked by this, this is what the-they (audiences and critics) expect from her. The ontological
relationship to art and its need to avoid constant technological disclosure. (Biro 1998: 251–2) For Kiefer, then, the factory is the site of artistic practice as opposed to industrial capitalism. The materials and tools of production are not conceived as standing-reserve. Kiefer does not see himself as engaged in industrial production, but rather as an alchemist who, like Joseph Beuys, is engaged in a process of transformation. In Kiefer’s concern to allow natural materials to 83 Art and
its way, the artist becomes inconsequential, as compared to the work. 108 Heidegger Reframed We know from our own experience that once an artwork is sent out into the world – to an exhibition or an art competition – the artist can never predict what will happen, how the work will be received or ‘read’. Roland Barthes’s seminal article ‘The death of the author’ (1977) and Michel Foucault’s essay ‘What is an author?’ (1986), have confirmed that notions of originality, authenticity and
succeeded by the artistresearcher who is engaged in projects. We no longer make art but rather carry out projects. This tendency is not just found in the academy but is also evident in the artworld and in the funding of the arts. Artists apply for project grants, and funding agencies fund projects rather than artists or art. In all this ongoing activity Heidegger believes that we get caught up in a particular way of knowing that is an enframing. We forget what Art is in itself. In our 158
Biennale 14, 25, 30, 78, 118–19 Vision and Painting: The logic of the gaze 64 Warhol, Andy 36, 45 Watkins, Jonathan 25–6 We are Family 118–19 ‘What is an author?’ 108 Whiteread, Rachel 46 Wichmann, Siegfried 99 William Kentridge: Drawing the passing 86 Williams, Linda 119 Willis, Gary 78 Wood, Beatrice 44 Yan’an 123 Young, Julian 128 Zedong, Mao 122, 130 Zeuxis 40, 53–4 189 Index Nietzsche, vol I: The Will to Power as Art 11, 125–26, 128, 130 Noland, Kenneth 135