Andrew Mitchell: Heidegger Among the Sculptors: Body, Space, and the Art of Dwelling
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Andy Goldsworthy has suggested that the essence of drawing is the line exploring space. Might we agree that in the same way, the body of a sculpture—its contours and shapes, rigidity and ease, concretion and dispersal—is also an exploration of space? Yet the line of sculptural form does not excise or set apart a meaningful work of art from some limpid expanse of inert space. For the limit marks the beginning of a thing, not its end. Art is efficacious because it provides a threshold upon which we may pause, confronted by—and confronting—the limit and expanse of our environment, inhaling the thickness of a space that constitutes the world into which we are perpetually embarking.
It is these dissolving boundaries, the intermingling of self and world, which Andrew Mitchell addresses in Heidegger Among the Sculptors: Body, Space, and the Art of Dwelling,an examination of Heidegger’s conception of space and sculpture, as articulated in his late, rarely discussed essays on three...