Art and concept: a philosophical study by Lucian Krukowski

By Lucian Krukowski

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Hegel sees, for example, the Egyptian pyramid, in its heaviness and inertia, as offering a place to the physical god whose spirit, because it is prematurely evoked, does not enter. 3. An art as measured by the changes in dominance, transculturally, among the arts. Here, the various arts gain or lose value as they move toward or away from the historical period they best exemplify. Architecture, for example, may be the prime exemplar of symbolic art, but it gives way to sculpture in the classic period.

Deca- Page 14 dence" can be understood here as a culture's willful rejection of an understood possibility of its own progress. The force of avant-garde aesthetics lies in its move to usurp the forms of progress from the culture proper and locate them in works of art. Radical art functions as criticism because it exemplifies what its society should evolve into but has not. Such art, then, serves both as a reproach and as a concrete instance of progress. It seeks the ontological status of the very reality it symbolizes.

So we were, from the beginning, "artists" not "students"; our youthful limitations seemed to have no necessary relation to the value of what we produced, for the things took on their own identities Page x as they were entered into the realm of conversation. I now see this as an early variant of the more recent attempts to liberate artists and their works from each other. Some years later, I came to better understand the perils of this formalized precociousness. I was drafted and spent time on a military rifle range in North Carolina.

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