Time in the Aesthetic Dimension of Visual Art

Time in the Aesthetic Dimension of Visual Art © Koninklijke Brill NV, Leiden, 2008 DOI: 10.1163/156852408X323201 KronoScope 8 . 1 ( 2008 ) 29 – 39 www.brill.nl/kron Time in the Aesthetic Dimension of Visual Art Noel White UK Abstract In the spring of 2006 the English artist Noel White met the author J.T. Fraser while staying with friends near Cordoba, Spain. Lively discussion arose between them prompted by a reading of a paper by the social scientist Barbara Adam, which argues for the recognition of a moral dimension in political decisions. What follows here is an essay based on their conversation. 1 The essay does not comment directly on Adam’s arguments, but extends the question of the moral dimension to White’s own area of expertise, the visual arts. Through an analysis of aspects of the history of modern painting it o ff ers an understanding of morality in art, not as an added extra, to be permitted or not, but, if the making of a thing is to go beyond mere emotional expression, as integral to it. This conclusion is reached by showing how it is the moral dimension that underlies the early discoveries of modern painting, which at the same time links it with earlier http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Kronoscope Brill

Time in the Aesthetic Dimension of Visual Art

Kronoscope , Volume 8 (1): 29 – Jan 1, 2008

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Publisher
Brill
Copyright
© 2008 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1567-715x
eISSN
1568-5241
D.O.I.
10.1163/156852408X323201
Publisher site
See Article on Publisher Site

Abstract

© Koninklijke Brill NV, Leiden, 2008 DOI: 10.1163/156852408X323201 KronoScope 8 . 1 ( 2008 ) 29 – 39 www.brill.nl/kron Time in the Aesthetic Dimension of Visual Art Noel White UK Abstract In the spring of 2006 the English artist Noel White met the author J.T. Fraser while staying with friends near Cordoba, Spain. Lively discussion arose between them prompted by a reading of a paper by the social scientist Barbara Adam, which argues for the recognition of a moral dimension in political decisions. What follows here is an essay based on their conversation. 1 The essay does not comment directly on Adam’s arguments, but extends the question of the moral dimension to White’s own area of expertise, the visual arts. Through an analysis of aspects of the history of modern painting it o ff ers an understanding of morality in art, not as an added extra, to be permitted or not, but, if the making of a thing is to go beyond mere emotional expression, as integral to it. This conclusion is reached by showing how it is the moral dimension that underlies the early discoveries of modern painting, which at the same time links it with earlier

Journal

KronoscopeBrill

Published: Jan 1, 2008

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