Advertisement

Seeing Art

  • Eva Schuermann
Chapter
Part of the Performance Philosophy book series (PPH)

Abstract

The aesthetic dimension is demonstrated with reference to the model of seeing art. In experiencing visual artworks, we are confronted with visual material that is, both in terms of its reflexivity and its character as an act, paradigmatically suited to generate insights into the processes that weave together the visible and the invisible. This chapter discusses this with reference to Gary Hill, Paul Cézanne and William Kentridge. The kind of seeing their works involve and represent is particularly appropriate for considerations in the theory of perception, because of the way, in each case, the artist’s gaze and the shape of their works break with the routines of seeing as identifying. Art sets out systematically to see in different ways.

References

  1. Alberti, Leon Battista. 1970. On Painting. Yale: Yale University Press.Google Scholar
  2. Badt, Kurt. 1956. Die Kunst Cézannes. Munich: Prestel-Verlag.Google Scholar
  3. Baumann, Friedrich (ed.). 2000. Cézanne: Vollendet unvollendet. Ostfildern: Hatje Cantz.Google Scholar
  4. Blanchot, Maurice. 1987. The Thought from Outside. New York: Zone Books.Google Scholar
  5. Bockemühl, Michael. 1985. Die Wirklichkeit des Bildes: Bildrezeption als Bildproduktion, 107–134. Stuttgart: Urachhaus.Google Scholar
  6. Boehm, Gottfried. 1973. Die Dialektik der ästhetischen Grenze. Neue Hefte für Philosophie 5: 118–138.Google Scholar
  7. Boehm, Gottfried. 1988. Paul Cézanne: Montagne Sainte-Victoire. Frankfurt am Main: Insel Verlag.Google Scholar
  8. Cameron, Dan et al. (eds.). 1999. William Kentridge. London: Phaidon Press.Google Scholar
  9. Christov-Bakargiev, Carlolyn. 2004. Über Fehlerhaftigkeit als Ressource. In William Kentridge, 3–10. Milano: Skira.Google Scholar
  10. Crary, Jonathan. 2001. Suspensions of Perception: Attention, Spectacle, and Modern Culture. Cambridge: MIT Press.Google Scholar
  11. Da Vinci, Leonardo. 1802. A Treatise on Painting. London: J. Taylor.Google Scholar
  12. Didi-Huberman, Georges. 1992. Ce que nous voyons, ce qui nous regarde. Paris: Minuit.Google Scholar
  13. Didi-Huberman, Georges. 2002. Superstition. In Ordnungen der Sichtbarkeit, ed. Peter Geimer, 434–440. Frankfurt am Main: Suhrkamp.Google Scholar
  14. Dobbe, Martina. 1992. Wie sollte einer von Farbe sprechen können? Diagonal: Zeitschrift der Universität-Gesamthochschule Siegen 2: 74–84.Google Scholar
  15. Eberlein, Johann Konrad. 1982. Apparitio regis – revelatio veritatis. Wiesbaden: Reichert.Google Scholar
  16. Elkins, James. 1996. The Object Stares Back. New York: Simon & Schuster.Google Scholar
  17. Fried, Micheal. 1980. Absorption and Theatricality. Berkeley: University of California Press.Google Scholar
  18. Gamm, Gerhard, and Schuermann, Eva (eds.). 2007. Das unendliche Kunstwerk. Berlin: Philo.Google Scholar
  19. Haß, Ulrike. 2005. Das Drama des Sehens. Munich: Fink.Google Scholar
  20. Hill, Gary. 1999. Exhibition Catalogue. Aarhus: Aarhus Kunstmuseum.Google Scholar
  21. Imdahl, Max. 1981. Cézanne, Braque, Picasso. In Bildautonomie und Wirklichkeit, 9–50. Mittenwald: Mäander.Google Scholar
  22. Imdahl, Max. 1988. Giotto. Munich: Fink. Google Scholar
  23. Imdahl, Max. 1996. Regie und Struktur in den letzten Gruppenbildnissen von Rembrandt und Frans Hals. In Zur Kunst der Tradition. Gesammelte Schriften, Vol. 2, 285.396. Frankfurt am Main: Suhrkamp.Google Scholar
  24. Kemp, Wolfgang. 2003. Rembrandt: Die Heilige Familie mit dem Vorhang. Kassel: Museumslandschaft Hessen.Google Scholar
  25. Kentridge, William. 1992. Drawings for Projection: Four Animated Films. Johannesburg: Goodman Gallery.Google Scholar
  26. Kentridge, William. 2004. Felix in Exile: Geography of memory. In William Kentridge, ed. Carlolyn Christov-Bakargiev, 22–24. Milano: Skira.Google Scholar
  27. Lyotard, Jean-François. 1988. L’inhumain. Paris: Galilée.Google Scholar
  28. Menke, Christoph. 1991. Die Souveränität der Kunst. Frankfurt am Main: Suhrkamp.Google Scholar
  29. Merleau-Ponty, Maurice. 1993. c. Cézanne’s Doubt. In The Merleau-Ponty Aesthetics Reader: Philosophy and Painting. Evanston: Northwestern University Press.Google Scholar
  30. Merleau-Ponty, Maurice. 2007. Eye and Mind. In The Merleau-Ponty Reader, 351–378. Evanston: Northwestern University Press.Google Scholar
  31. Nancy, Jean-Luc. 2000. Le regard du Portrait. Paris: Galilée.Google Scholar
  32. Neumeyer, Alfred. 1964. Der Blick aus dem Bilde. Berlin: Gebrüder Mann.Google Scholar
  33. Nietzsche, Friedrich. 1999. On Truth and Lies in a Nonmoral Sense. In The Birth of Tragedy and Other Writings, 139–153. Cambridge: Cambridge University Press.Google Scholar
  34. Plessner, Helmuth. 1982. Mit anderen Augen. In Mit anderen Augen, 164–181. Stuttgart: Reclam.Google Scholar
  35. Rancière, Jacques. 2007. The Future of the Image. London: Verso.Google Scholar
  36. Rilke, Rainer Maria. 1983. Briefe über Cézanne. Frankfurt am Main: Insel Verlag.Google Scholar
  37. Salles, Georges. 2001. Der Blick. Berlin: Vorwerk 8.Google Scholar
  38. Schapiro, Meyer. 2004. Paul Cézanne. New York: Abrams.Google Scholar
  39. Schulz, Walter. 1972. Philosophie in der veränderten Welt. Pfullingen: Neske.Google Scholar
  40. Schuermann, Eva. 2004. Zeitlichkeit als Form und Inhalt der ästhetischen Erfahrung. In Licht und Zeit, ed. Gernot Böhme and Reinhard Olschanski, 94–104. Munich: Fink.Google Scholar
  41. Simmel, Georg. 1995a. Ästhetik des Porträts. In Aufsätze und Abhandlungen 1901–1908, Vol. 1, 321–332. Frankfurt am Main: Suhrkamp.Google Scholar
  42. Simmel, Georg. 1995b. Der Bildrahmen. In Sämtliche Schriften, Vol. 7, 101–108. Frankfurt am Main: Suhrkamp.Google Scholar
  43. Simmel, Georg. 2013. Rembrandt: An Essay in the Philosophy of Art. London: Routledge.Google Scholar
  44. Snyder, Joel. 2002. Das Bild des Sehens. In Paradigma Fotografie, ed. Herta Wolf, 23–59. Frankfurt am Main: Suhrkamp.Google Scholar
  45. Valéry, Paul. 1970. Odds and Ends. In The Collected Works of Paul Valéry, Vol. 14, 1–156. Princeton: Princeton University Press.Google Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  • Eva Schuermann
    • 1
  1. 1.Otto-von-Guericke UniversityMagdeburgGermany

Personalised recommendations