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The Death of Painting (After Plato)

The Death of Painting (After Plato) © Koninklijke Brill NV, Leiden, 2011 DOI: 10.1163/156916411X558873 Research in Phenomenology 41 (2011) 23–44 brill.nl/rp R e s e a r c h i n P h e n o m e n o l o g y The Death of Painting (After Plato) Ryan Drake Fairfield University Abstract Whereas the entrance of the monochrome into modern art has typically been understood in light of movements in contemporary art and aesthetic theory following in its wake, this essay seeks to understand the motivations for, and the effect of, the monochrome in the work of Aleksandr Rodchenko in 1921 in reference to Plato’s analysis of pure pleasure and absolute beauty in the Philebus . I argue that Rodchenko and Plato were motivated by a shared project to contend with the aesthetic and psychological effects of figurative semblance, or what Socrates calls the phantasm, in order to harmonize human perception with the world of sensuous mate- rial objects. It is in this shared project, I contend, that Rodchenko’s strategy is to be understood as a kind of materialist Platonism that, when viewed phenomenologically, reveals Plato’s objects of absolute beauty to be, in the context of industrial capitalism and the crisis http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Research in Phenomenology Brill

The Death of Painting (After Plato)

Research in Phenomenology , Volume 41 (1): 23 – Jan 1, 2011

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Publisher
Brill
Copyright
© 2011 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0085-5553
eISSN
1569-1640
DOI
10.1163/156916411X558873
Publisher site
See Article on Publisher Site

Abstract

© Koninklijke Brill NV, Leiden, 2011 DOI: 10.1163/156916411X558873 Research in Phenomenology 41 (2011) 23–44 brill.nl/rp R e s e a r c h i n P h e n o m e n o l o g y The Death of Painting (After Plato) Ryan Drake Fairfield University Abstract Whereas the entrance of the monochrome into modern art has typically been understood in light of movements in contemporary art and aesthetic theory following in its wake, this essay seeks to understand the motivations for, and the effect of, the monochrome in the work of Aleksandr Rodchenko in 1921 in reference to Plato’s analysis of pure pleasure and absolute beauty in the Philebus . I argue that Rodchenko and Plato were motivated by a shared project to contend with the aesthetic and psychological effects of figurative semblance, or what Socrates calls the phantasm, in order to harmonize human perception with the world of sensuous mate- rial objects. It is in this shared project, I contend, that Rodchenko’s strategy is to be understood as a kind of materialist Platonism that, when viewed phenomenologically, reveals Plato’s objects of absolute beauty to be, in the context of industrial capitalism and the crisis

Journal

Research in PhenomenologyBrill

Published: Jan 1, 2011

Keywords: Plato; painting; Gadamer; constructivism; Philebus; pleasure

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