The main aim of the article is to explore the conceptual genesis of Barnett Newman’s artistic «sublime». To do this, ample attention is paid to a 1947 critical text in which Newman articulates in ...philosophical terms a polarity that will rest fundamental in his pictorial practice: that between the “transcendence of objects” and the “reality of transcendental experience”. Generated in Newman’s reflection in order to detach his own painting from the great abstract European tradition, the idea behind that dichotomy served as a laboratory for the well-known essay Sublime is Now (1948). The article attempts to make explicit the fundamental convergence of metaphysical and physical instances in the artist’s personal notion of the sublime, which links to a radical rethinking of the relationship between subject and object in painting.
Micrologia del sublime Giovanni Ferrario
Collana del Centro studi beni culturali e ambientali.,
08/2021
21
Journal Article
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Starting from the seventeenth-century aesthetic micrology, the essay intends to show how the concept of the sublime has, subterraneously, crossed different cultures configuring itself as that ...infinitesimal fracture that amazes, an abyssal space in which the moment opens showing us the fragments of what has been essential. From Spinoza to oriental culture, of which haiku is an elected expression, the sublime is not, as Burke claimed, distinct from beauty, but is the origin and the end of beauty. It is an "elevated beauty" and anti-monumental, which lurks in our gaze on the everyday and that, through the poetic intuition of the artist, finds restless and amazed emergence.
Il sublime, o dell'esponibile Dario Cecchi
Collana del Centro studi beni culturali e ambientali.,
08/2021
21
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The paper reconsiders the possibility of understanding the art of avant-garde in the light of the sublime, as argued by Jean-François Lyotard in his famous critical essay on Barnett Newman’s artwork ...Vir Heroicus Sublimis. According to the paper, the scope of a ‘sublime art’ of the avant-garde is larger than the reference to a single artist or movement, and entails the possibility of comprehending the reflective stance of modernism as a critique, performed by art, of the conditions of possibility of exposition as a gesture that is relevant not only to the art world but to experience at large. The sublime art brings this critique to its extreme consequences as far as it explores the boundaries of exposition with regard to the world image supplied by the media system. This sublime directory of the avant-garde was inaugurated by Marcel Duchamp as he introduced the practice of the ready-media in the art system. However, it enjoyed a long-lasting success thereafter.
The article discusses some aspects of Deleuze’s reinterpretation of Kantian aesthetics, specially focusing on the theme of the sublime with a twofold goal. On the one hand, it is showed how Deleuze ...elaborates a theory of thought criticizing some implicit presuppositions of Kantism: i.e., the common sense and the agreement of the faculties. In that context, the critique of the “recognition” model takes on a special function in order to clarify the dynamics of the sublime. On the other, it is a matter of investigating the ethical theme marking the sublime experience: a moment where the disagreement of cognitive faculties gives rise to new values unrecognized and unrecognizable. By stimulating that disagreement of the faculties, sublime thus allows us to express and scrutinize, on the Kantian side, a theme Deleuze had already encountered in Nietzsche’s thought: the creation of values.
Este trabajo pretende aproximar dos realidades aparentemente contrapuestas como son la experiencia romántica de lo sublime y la emergente estética de lo cotidiano. Pero quiere hacerlo desde un ...enfoque distinto del de Thomas Leddy, que basado en el carácter extraordinario de los objetos y procesos normales de la vida, acaba haciendo de lo irrelevante diario, algo grande y atemorizante. Para nosotros, la experiencia sublime de lo cotidiano exige tomar la cotidianeidad como pura cotidianeidad, según aparece en Yuriko Saito. Esto lleva a fijarse en aspectos distintos de los establecidos por la estética moderna para lo sublime, como el sentimiento de asombro y la pequeñez, con los que se traza aquí un recorrido histórico alternativo para esta experiencia a través de pensadores como Burke, Schopenhauer, Ortega y Gasset y Carolyn Korsmeyer.
Ressentir et interpréter une image Michel, Johann
Methodos (Villeneuve-d'Ascq, France),
06/2023, Letnik:
23, Številka:
23
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It is common to oppose, with regard to images in art, a symbolic hermeneutics and a phenomenology of the sensible (or an aesthetics of the sublime), a logic of meaning and a logic of sensation. The ...ambition of this article is twofold. It consists, on the one hand, in justifying the relevance of a hermeneutics of the image, in a relationship with the iconological current, by showing that interpreting more makes it possible to feel more. On the other hand, it consists in showing the limits of a hermeneutics of the image when it is reduced to the search for a hidden meaning and always claims to transform the sensible into the intelligible.
A partir de ciertos casos de accidentes de bailarinas ocurridos a mediados del siglo XIX y mencionados en la llamada historia de la danza escénica occidental, este ensayo intentará reflexionar sobre ...lo que esos accidentes revelaban. Se planteará que no solo estos accidentes invertían la imagen ideal de la bailarina neoclásica romántica al poner en primer plano su lugar como mujeres trabajadoras, sino además que estos accidentes intensificaban, en la audiencia, la experiencia de lo sublime. En ese sentido, se intentará vislumbrar también otros peligros (políticos y/o morales) con los cuales se asociaba la profesión y que tenían como centro los cuerpos de estas jóvenes mujeres del siglo XIX que —literal o metafóricamente— vivían para (y morían por) moverse en escena.
Sublime: um vazio pregnado Maria Costa de Araujo; Silvana B. Macedo
DAPesquisa,
08/2019, Letnik:
3, Številka:
5
Journal Article
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Este artigo aborda os aspectos históricos dos conceitos de sublime e de vazio, e reflete sobre possíveis maneiras de pensá-los com relação a projetos artísticos na contemporaneidade. Os projetos ...estudados lidam com a mediação da ciência e tecnologia na relação humana com a natureza, e sua articulação na arte. Investigam-se, portanto, trabalhos artísticos que fazem uso de aparatos tecnológicos para interagir com animais e meio ambiente. Entre os projetos abordados, estão: desenhos e fotografias de Tim Knowles, projeto The Greenhouse and the Shed, de Gilles Bruni e Marc Batarit, projeto Cads - Cricket-Activated Defense System, PigeonBlog de Beatriz da Costa, Russian Beluga Project, de Jim Nollman.
Tu autem eras interior intimo meo et superior summo meo « mais, toi, tu étais plus intime que l’intime de moi-même et plus élevé que les cimes de moi-même » (Confessions III, 6, 11) La formule est ...célèbre, même si la traduction rend mal la pointe rhétorique des jeux de comparaison. Elle concentre, en tout cas, les deux tropismes des cimes et des abîmes où le synopsis de notre colloque a reconnu les deux tensions du sublime, même si elle ignore l’adjectif sublimis qui, dans les Confessions, es...
Contrary to what Kant believed about the Dutch (and their visual culture) as “being of an orderly and diligent position” and thus having no feeling for the sublime, this book argues that the sublime ...played an important role in seventeenth-century Dutch visual culture. By looking at different visualizations of exceptional heights, divine presence, political grandeur, extreme violence, and extraordinary artifacts, the authors demonstrate how viewers were confronted with the sublime, which evoked in them a combination of contrasting feelings of awe and fear, attraction and repulsion. In studying seventeenth-century Dutch visual culture through the lens of notions of the sublime, we can move beyond the traditional and still widespread views on Dutch art as the ultimate representation of everyday life and the expression of a prosperous society in terms of calmness, neatness, and order. The book will be of interest to scholars working in art history, visual culture, architectural history, and cultural history.
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