Art and the Form of Life

Springer Verlag (2020)
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Abstract

Art and the Form of Life takes a classic theme—philosophy as the art of living—and gives it a contemporary twist. The book examines a series of watershed moments in artistic practice alongside philosophers’ most enduring questions about the way we live. Coupling Tino Sehgal with Wittgenstein, cave art with Foucault, Stanley Kubrick with Nietzsche, and the Bauhaus with Walter Benjamin, the book animates the idea that life is literally ours to make. It reflects on universal themes that connect the long histories of art and philosophy, and it does so using a contemporary approach. Drawing on great philosophical works, it argues that life practiced as an art form affords an experience of meaning, in the sense that it is engaging, creative, and participatory. It thus effects a fundamental renewal of experience.

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Chapters

Introduction

The introduction presents the overriding claim that art is a performance of life from within—a way of making our forms of life visible and tangible. Each chapter extends the idea that art reveals the life of its time. It uses this connection to analyze diverse phenomena—from cave art to abstract art... see more

Art and Accident

This chapter takes up the issue of art-without-artists from another angle: creation by accident. Can you choreograph chance or make music of accidental noise? Can you create what you do not control? The works of artists such as Ives Klein, Bas Jan Ader, and Ana Mendieta suggest these possibilities. ... see more

Short Scenes from the Long History of Art

This chapter asks: why do humans make art? It explores snapshots from the long history of art—including cave art, Egyptian pyramids, and classical Greek architecture—to understand the connection between art and historical developments in our consciousness of life. Art provided a way to touch the con... see more

Nietzsche: Out of the Spirit of Music

This chapter argues that Nietzsche’s understanding of tragedy articulates the intimate links between life and art. In his first published work, The Birth of Tragedy, Nietzsche rejected the notion of art as a leisure activity. Instead, he argued that it was one of the most fundamental human activitie... see more

Perspective and the Invention of the Self

This chapter links the discovery of linear perspective in the Renaissance with the development of our understanding of the individual self. The early modern self was first constructed as a viewer for whom the world is given for observation and knowledge. Centuries later, the Cartesian cogito would a... see more

Creating Contemporary Immanence

This chapter takes up the impossible task of identifying the forms of our contemporary present. The contemporary era, like all others, will eventually be replaced. What are its forms and aesthetic characteristics? This kind of question requires some distance, and we gain that by considering contempo... see more

Tino Sehgal and the Everyday as Readymade

This chapter presents a close reading of one work by artist Tino Sehgal who transforms everyday experiences, such as conversations or walks, into artistic creations. For six weeks in 2009, Sehgal’s performative piece, This Progress, occupied the entire Guggenheim museum in New York. Emptied of objec... see more

Experiments in the Technique of Awakening: Walter Benjamin’s Passagen-Werk

This chapter follows Benjamin’s last work, The Arcades Project, as a model for how to observe the forms of one’s life as if walking through an exhibition. Ordinary life can be transformed into art or art transformed into life while strolling in the city, watching people, or window-shopping. The ever... see more

Ghosts in the Machine: Duchamp, Warhol, and a Bit of Chaplin Too

This chapter concentrates on the works of Marcel Duchamp, Andy Warhol, and Charlie Chaplin. In different ways, these artists helped open art to everyday, mass-produced objects and define “pop art” as a movement and a lifestyle. Their works provoked controversy for pushing the boundaries between mass... see more

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