Art and objecthood

Definition

Art and objecthood refers to the philosophical discussion surrounding the nature of art as distinct from ordinary objects, emphasizing the experience of art in relation to its materiality and the context in which it is encountered. This term explores how minimalism and conceptual art challenge traditional notions of art by questioning the significance of the object itself versus the ideas it conveys, particularly in how viewers engage with and perceive these works.

5 Must Know Facts For Your Next Test

1. The term 'art and objecthood' gained prominence in Michael Fried's essay 'Art and Objecthood' published in 1967, where he critiqued minimalism's emphasis on physical objects.
2. Fried argued that minimalism's focus on the object itself detracted from the viewer's ability to have a true artistic experience, which he believed was essential to meaningful art.
3. In contrast, proponents of conceptual art embraced objecthood as a way to explore ideas and concepts, valuing the process of thought over material presence.
4. Italian Arte Povera artists employed everyday materials to emphasize their connection to the environment and to question traditional values associated with fine art and objecthood.
5. The dialogue between Fried and artists like Donald Judd illustrates a fundamental tension in contemporary art about whether meaning is derived from the artwork itself or from its interaction with viewers.

Review Questions

• How does Michael Fried’s critique of minimalism relate to the concept of objecthood in art?
  • Michael Fried critiques minimalism by arguing that its focus on physical objects reduces art to mere 'objecthood,' lacking the deeper engagement that he believes is essential for a true artistic experience. He posits that minimal artworks demand a different type of viewer interaction that shifts away from emotional or intellectual involvement. Instead, he advocates for an art experience that transcends mere presence, suggesting that successful art should provoke contemplation beyond its material existence.
• Discuss how Italian Arte Povera artists responded to concepts of objecthood in their works.
  • Italian Arte Povera artists reacted against traditional notions of high art by using everyday materials and embracing impermanence in their works. They aimed to break down barriers between art and life, often incorporating elements from nature or found objects. By doing so, they challenged viewers to reconsider the significance of what constitutes an artwork, thereby redefining objecthood as something that exists in relation to social context and viewer interaction rather than merely as a standalone entity.
• Evaluate the impact of conceptual art on traditional views of art and objecthood in light of critiques from figures like Clement Greenberg.
  • Conceptual art has significantly impacted traditional views of art by emphasizing ideas over aesthetic values, directly challenging established notions of objecthood. Figures like Clement Greenberg championed formal qualities in modernist art but faced challenges as conceptual artists questioned the primacy of the visual experience. This shift forced critics and audiences alike to reconsider not just what constituted art but also how meaning could emerge from an artist's intention rather than the object's physical attributes alone, leading to an ongoing dialogue about the essence and boundaries of contemporary artistic practice.

Related terms

Minimalism: An art movement that emphasizes simplicity and the use of basic forms, often stripping away personal expression and focusing on the essence of materials.

Conceptual Art: Art where the concept or idea behind the work takes precedence over traditional aesthetic concerns, often challenging conventional definitions of what art is.

Michael Fried: An influential critic who critiqued minimalism for its perceived focus on objecthood, arguing that it reduced art to mere physical presence rather than a transformative experience.