My last post today!
In a message dated 4/5/2015 6:07:11 P.M. Eastern Daylight Time,
donalmcevoyuk@xxxxxxxxxxx writes:
Famously, Gombrich has applied this approach to the visual arts, where it
is immensely useful in drawing out "The Story of Art" - and probably the
only approach that can give adequate rationale to the misguided outreaches of
modern "conceptual art".
I understand that conceptual artists were once popular in the Coventry
area, in the heart of England, and THEY possibly quoted from, who knows, Grice.
But I believe it was Kosuth, who isn't from Coventry, who developed the
idea in Ayer, "Language, Truth, and Logic", about ethical statements. Kosuth
translates that to aesthetic statements, and ends up, presto, with
conceptual art!
Born in Toledo, Ohio, Kosuth has a French-English-Cherokee mother and a
Hungarian father, surnamed Kosuth. (An old relative, Lajos Kossuth, achieved
fame for his role in the Hungarian Revolution of 1848. -- but as Kosuth
explains, "We thought the spelling with a geminated s was pretentious").
Joseph Kosuth attended the Toledo Museum School of Design and studied
privately under Line Bloom Draper.
Kosuth enrolled at the Cleveland Institute of Art on a scholarship.
He spent the following year in Paris and traveled throughout Europe and
North Africa.
He moved to New York in and attended the School of Visual Arts there.
He studied anthropology and philosophy at the New School for Social
Research, New York.
The courses he attended at the "New School" included some Ayer, some Grice,
and notably, some Popper.
KEYWORDS: Conceptual art, conceptualism.
On the other hand, Gombrich also made the important fine distinction
between the iconographic and the iconologic. KEYWORD: iconographic-iconologic.
He thinks 'iconologic' sounds "posh", while 'iconographic' sounds 'like hard
work', where he is using 'like' LITERALLY.
Cheers,
Speranza
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