In many ways the 60s of the 20th century have given art a new face. The artistic reactions to formative events and sentiments of their time designed a portrait of an era, which revealed complex social changes, turbulent political developments and rapid technological progress. Since the end of the second World War artists conceptualized new artistic ideas like autonomy, authorship, form, originality and transformed them into their own language in order to find a new artistic technique. One of these new techniques of how to deal with the new paradigms of the time offered Minimal Art. The goal was no longer to solve the problems in the work but to resolve its recognized status. Instead of construction, the intention of deconstruction emerged.
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The art historian Jack Burnham highlighted the approach towards a new conception initiated by Minimal Art, in which viewer an opponent (work of art) step into action. In the chapter Pure Form becomes Pure Experience (1968) he refers to the philosopher Merleau-Ponty and his phenomenology. A direct connection between the philosopher and Minimal Art was already identified by Rosalind Krauss in her article Allusion and illusion in Donald Judd (1966): "In order to attain meaning of Donald Judd 's […] work, a mere description of the objects themselves is inevitable, however one can typically not stop with a listing of characteristics, despite many artists convinced of object art would claim that such listing indeed describes everything contained in the …show more content…
His philosophy of subjectivity differs from other theories of consciousness in respect that it allows consciousness to maintain something conceptually insolvable. In his major work La Phénoménologie de la Perception (1945) Merleau-Ponty attempts to overcome the classic dichotomies of mind and body i.e. intellectualism and empiricism. Therefore the term “body” stands for the foundation of the human in the world and refers to a “third dimension” beyond empiricism and intellectualism. The works of art can thus expand into something
The art historian Jack Burnham highlighted the approach towards a new conception initiated by Minimal Art, in which viewer an opponent (work of art) step into action. In the chapter Pure Form becomes Pure Experience (1968) he refers to the philosopher Merleau-Ponty and his phenomenology. A direct connection between the philosopher and Minimal Art was already identified by Rosalind Krauss in her article Allusion and illusion in Donald Judd (1966): "In order to attain meaning of Donald Judd 's […] work, a mere description of the objects themselves is inevitable, however one can typically not stop with a listing of characteristics, despite many artists convinced of object art would claim that such listing indeed describes everything contained in the …show more content…
His philosophy of subjectivity differs from other theories of consciousness in respect that it allows consciousness to maintain something conceptually insolvable. In his major work La Phénoménologie de la Perception (1945) Merleau-Ponty attempts to overcome the classic dichotomies of mind and body i.e. intellectualism and empiricism. Therefore the term “body” stands for the foundation of the human in the world and refers to a “third dimension” beyond empiricism and intellectualism. The works of art can thus expand into something