Object Oriented Art Uninhibited: A Forum for Civility

Professor Michael Fried published an essay in 1967 entitled, "Art and Objecthood" where he went on to depict Minimalism as having betrayed Modernism's exploration of the medium by becoming enraptured in its own materiality, denying the beholder an ideal aesthetic experience. He referred to Minimalism as "literalist art", denoting the way in which he believed the experiential aspect of Minimalism lacked astral depth due entirely to its focus on the objective nature of objects. Fried defines art as a set of standards of comparison of mediums. Objectivity is conquered by placing the emphasis on shape. This is a theatrical planning that takes into account size, space, background and contextual environment.

The meaning and interpretation of artistic works are left to the conversational observations and discussion of the beholders. Some of this might be accentuated by information provided by the Artist and their intended attributions. The value is nonetheless determined by the collective beholders. Along the way, art is used to confront the beholder and the general community with nuance, a calculated anxiety, taboo, neurosis and inspirational beauty that holds the potential of elevating the group consciousness. Fundamentalist interpretations of art work that pushes the cognitive boundaries of a community's cultural sense of decency or sensuality, justice or rage, is a flawed method by which to approach art. Art presents narratives that might inspire action, but this not to say that all art, or any for that matter, is subversive. Art is a vehicle for the civilization of humanity, as demonstrated over the centuries.

The artist preparing for a gallery showing might serve well to avoid the constriction so willingly imposed upon their work and its potential to civilize by the strangling of its eccentricity and value by the accompanying it with the familiar black and white text that attempts to explain the meaning or intended purpose of the art. The only exception might be a Conceptualist installation where the sacred transmission of the medium is but a perfunctory act. The effect can at times seem to almost carry the condescending appearance of an intellectual chaperone. Was Duchamp's traversal of space accompanied by a white foam board label with black text? I can't say for sure, but somehow I have trouble picturing it.

Art is the only place where authority figures, soulless bureaucracy and judgmental overseers lacking in empathy, lack the authority or the ability to intervene, censor or inhibit. So, art in its presentation should be uninhibited, unless the artist feels the need to present their command of letters via the label, thus assuring the beholder that there is nothing radical here, nothing to be distrusted or reported.