Abstract

A prevailing concern in aesthetics is the meaning and purpose of art, and with respect to that concern, there are just as likely as many philosophies about the matter as there are individual pieces of art in the world. I believe that Kant (2001) was correct that this is a result of the human capacity for taste, that faculty that makes the judgment of beauty possible, which is ultimately subjective in spite of the feeling that such intimations are necessary and are therefore sufficient to warrant universal appeal (p. 89/5:204). Scholarship, therefore, finds itself in a bind, since that implies that the search for universal artistic meaning would be a fool's errand, that determining the value of artistic works necessarily requires case-by-case analyses, and that the development of the aesthetic sense of the utmost importance to those in the humanities, especially at a time when reproductions of famous works can be had on the cheap. We must not forget that in spite of these difficulties, art has something to say, and as such, it falls upon scholars to pay attention to what is said in order to better understand art in generalis to the extent that such understanding is possible. In this article, I explore the idea of presence as it pertains to the meaning of Jon Carsman's work in light of the stated purpose of his artistic life, to "give [the viewer] a feel of what it is like to be there when [he] was" (Petrillo 2003, p. 5).