Antinomy of Abstraction: On Pollock's “Number 5” (1948)
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
This paper proposes a retro-modernist interpretation of Pollock’s painting “Number 5” (1948). The paper rejects the view that abstraction forms a simple dichotomy with figurative representation; instead, abstraction is seen as an inherently ambiguous quality, inviting contradictory interpretations that form an antinomy of abstraction. Here, the paper employs the notion “antinomy” in a sense loosely based on Kant’s theory of transcendental illusions in the Critique of Pure Reason. The antinomy concerns sensibility. The thesis maintains that the canvas presents raw sensory intuitions without or prior to their discursive mediation in terms of concepts, principles, or categories. The painting, on this view, explores the forms of sensibility, in particular the non-representational significance of undetermined flat surfaces. The anti-thesis states that raw sensuous intuitions are always already prefigured by multiple layers of effective history. Accordingly, the painting signifies through its implicit dialogue with the inherited tradition. This antinomy of abstraction cannot be resolved or integrated into a higher synthesis; yet, it provides a hermeneutic grid for a retro-modernist interpretation of Pollock’s “Number 5.”
Abstract
This paper proposes a retro-modernist interpretation of Pollock’s painting “Number 5” (1948). The paper rejects the view that abstraction forms a simple dichotomy with figurative representation; instead, abstraction is seen as an inherently ambiguous quality, inviting contradictory interpretations that form an antinomy of abstraction. Here, the paper employs the notion “antinomy” in a sense loosely based on Kant’s theory of transcendental illusions in the Critique of Pure Reason. The antinomy concerns sensibility. The thesis maintains that the canvas presents raw sensory intuitions without or prior to their discursive mediation in terms of concepts, principles, or categories. The painting, on this view, explores the forms of sensibility, in particular the non-representational significance of undetermined flat surfaces. The anti-thesis states that raw sensuous intuitions are always already prefigured by multiple layers of effective history. Accordingly, the painting signifies through its implicit dialogue with the inherited tradition. This antinomy of abstraction cannot be resolved or integrated into a higher synthesis; yet, it provides a hermeneutic grid for a retro-modernist interpretation of Pollock’s “Number 5.”
참고문헌 (36)
- Arrighi, Giovanni, "The Long Twentieth Century: Money, Power and the Origins of our Times" (2010), Verso
- Benjamin, Walter, "Gesammelte Schriften. I-2" (1991), Suhrkamp
- Berman, Marshall, "All That Is Solid Melts Into Air: The Experience of Modernity" (1982), Penguin
- Bradbury, Malcolm, "Modernism", pp.96~104 (1976), Penguin
- Butler, Rex, "What was Abstract Expressionism? Abstract Expressionism after Aboriginal Art", Australian and New Zealand Journal of Art, 14(1), pp.76~91 (2014)
- Clark, T. J., "In Defense of Abstract Expressionism", October, 69, pp.22~48 (1994)
- Craven, David, "Abstract Expressionism and Third World Art: A Post-Colonial Approach to 'American' Art", The Oxford Art Journal, 14(1), pp.44~66 (1991)
- Dahlstrom, Daniel, "The Cambridge Companion to Kant’s Critique of Pure Reason", pp.380~400 (2010), Cambridge University Press
- de Duve, Thierry, "Clement Greenberg Between the Lines" (2010), University of Chicago Press
- de Duve, Thierry, "Kant after Duchamp" (1996), The MIT Press
- Doyon-Bernard, Suzette, "Jackson Pollock: A Twentieth-Century Chavín Shaman", American Art, 11(3), pp.8~31 (1997)
- Drucker, Johanna, "Modernist surface, semiotic signs, and the hermeneutic trace: Jackson Pollock", Semiotica, 102(1, pp.2) (1994), 5~26
- Foucault, Michel, "Les mots et les choses: Une archéologie des sciences humaines" (1966), Gallimard
- Gadamer, Hans-Georg, "Truth and Method" (2004), Continuum
- Gay, Peter, "Modernism: The Lure of Heresy, From Baudelaire to Beckett and Beyond" (2008), Norton
- Greenberg, Clement, "Art in Theory 1900-1990" (2003), Blackwell
- Heidegger, Martin, "Die Frage nach dem Ding: Zu Kants Lehre von den transcendentalen Grundsätzen" (1984), Klostermann
- Heidegger, Martin, "Geschichte der Philosophie von Thomas von Aquin bis Kant" (2006), Klostermann
- Heidegger, Martin, "Kant und das Problem der Metaphysik" (1991), Klostermann
- Heidegger, Martin, "Phänomenologische Interpretation von Kants Kritik der reinen Vernunft" (1977), Klostermann
- Hobsbawm, Eric, "The Age of Empire" (1987), Abacus
- Jachec, Nancy, "David Craven, Abstract Expressionism as Cultural Critique: Dissent During the McCarthy Period", Third Text, 13(49), pp.108~110 (1999)
- Jachec, Nancy, "'The Space Between Art and Political Action':Abstract Expressionism and Ethical Choice in Postwar America 1945-1950", Oxford Art Journal, 14(2), pp.18~29 (1991)
- Kant, Immanuel, "Critique of Pure Reason" (1998), Cambridge University Press
- Morris, Andy, "The cultural geographies of Abstract Expressionism:painters, critics, dealers and the production of an Atlantic art", Social & Cultural Geography, 6(3), pp.421~437 (2005)
- O’Connor, Francis V., "Two Methodologies for the Interpretation of Abstract Expressionism", Art Journal, 47(3), pp.222~228 (1988)
- Rampley, Matthew, "Identity and Difference: Jackson Pollock and the Ideology of the Drip", Oxford Art Journal, 19(2), pp.83~94 (1996)
- Ricoeur, Paul, "The Conflict of Interpretations: Essays in Hermeneutics" (2007), Northwestern University Press
- Roazen, Paul, "Reflections on Psychoanalysis, Creativity, and Jackson Pollock", American Journal of Psychoanalysis, 55(1), pp.41~51 (1995)
- Ross, Clifford, "Abstract Expressionism: Creators and Critics:An Anthology" (1990), Abrams
- Schreyach, Michael, "Pre-Objective Depth in Merleau-Ponty and Jackson Pollock", Research in Phenomenology, 43, pp.49~70 (2013)
- Shapiro, David, "Abstract Expressionism: The Politics of Apolitical Painting", Prospects, 3, pp.175~214 (1978)
- Shapiro, David, "Abstract Expressionism: A Critical Record" (1990), Cambridge University Press
- Taylor, Charles, "The Ethics of Authenticity" (1991), Harvard University Press
- Wood, Allen W., "The Cambridge Companion to Kant’s Critique of Pure Reason", pp.245~265 (2010), Cambridge University Press
- Wood, Paul, "A Companion to Art Theory", pp.215~228 (2002), Blackwell