Anti-Essentialism and Modern Art Love without 'Truth'

Richard Harry

Date of Award

2003

Document Type

Thesis

Degree Name

Bachelors

Department

Humanities

First Advisor

Hassold, Cris

Keywords

Anti-Essentialism

Area of Concentration

Visual Arts

Abstract

This thesis explores the ways in which modem art has understood itself as an ahistorical 'mirror' of metaphysical 'Truth'. Contending that art is reflective of 'intrinsic reality' or the 'universal human condition', the first essay examines how artists have viewed their work in terms of this basic essentialist premise. The origins of the notion of the quasi- divine Self can be traced back to a plethora of philosophical sources. Anti-essentialism jeopardizes this epistemological game by demonstrating the depth of contingency in relation to selfhood, language, and morality. Reversing the interpretation presented in chapter one, modern art can also be seen as partially responsible for moving away from the epistemological quest and the metaphysical need for some variant of absolute 'Truth'. This double reading places modem art in a paradoxical position that exposes a dialectical tension in its historical development. These trends are furthered through Duchamp's claim that 'art' is 'idea'; this is in accordance with the philosophical notion that 'Truth' is made rather than found. Contemporary art has ceased to view itself as a metaphysical medium for 'Truth', This thesis suggests that the meaning of art is perpetually dependent upon language and our various ways of speaking about the meaning of painting. Accordingly, I contend that art is best viewed in terms of its moral and emotional connotations.

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