Academia.eduAcademia.edu

Figure from:Evental Aesthetics Vol. 1 No. 1 (2012) - Aesthetics After Hegel

See full PDFdownloadDownload figure
Figure 6

Figure 6

Related Figures (6)

Hume, Angela. "(Rescuing) Hegel's Magical Thinking," Evental Aesthetics 1, no. 1 (2012): 11-38.
Hume, Angela. "(Rescuing) Hegel's Magical Thinking," Evental Aesthetics 1, no. 1 (2012): 11-38.
Mussett, Shannon. “Irony and the Work of Art: Hegelian Legacies in Robert Smithson,” Evental Aesthetics 1, no. 1 (2012): 48-76.
Mussett, Shannon. “Irony and the Work of Art: Hegelian Legacies in Robert Smithson,” Evental Aesthetics 1, no. 1 (2012): 48-76.
Robert Smithson, Spira/ Jetty. Photo by Shannon Mussett. between Hegel and Smithson on irony is threefold. First, Smithson offers an artistic response to Hegelian aesthetics in general through his explicit adoption of a materialist dialectics in contrast to one rooted in idealism. In so doing, Smithson allows dialectics to continue to do important work both theoretically and artistically in the modern age. Second, the specific point of contact between Hegel and Smithson on irony develops a dialogue between a problematic — even dangerous — conception of irony (as found in Hegel's critique) and a more fecund and relevant ironic practice (as found in Smithson’s works). By playfully rejecting the position of a Hegelian ironical artist, Smithson illustrates how irony can both engage and critique the contemporary landscape. Finally, given the pessimism and fatalism that infuses many social and academic attitudes toward the future of our shared world, Smithson’s reconfiguration of the ironic attitude away from a Hegelian framework suggests an artistic disclosure that prevents paralysis and encourages innovation. paralysis and encourages innovation.
Robert Smithson, Spira/ Jetty. Photo by Shannon Mussett. between Hegel and Smithson on irony is threefold. First, Smithson offers an artistic response to Hegelian aesthetics in general through his explicit adoption of a materialist dialectics in contrast to one rooted in idealism. In so doing, Smithson allows dialectics to continue to do important work both theoretically and artistically in the modern age. Second, the specific point of contact between Hegel and Smithson on irony develops a dialogue between a problematic — even dangerous — conception of irony (as found in Hegel's critique) and a more fecund and relevant ironic practice (as found in Smithson’s works). By playfully rejecting the position of a Hegelian ironical artist, Smithson illustrates how irony can both engage and critique the contemporary landscape. Finally, given the pessimism and fatalism that infuses many social and academic attitudes toward the future of our shared world, Smithson’s reconfiguration of the ironic attitude away from a Hegelian framework suggests an artistic disclosure that prevents paralysis and encourages innovation. paralysis and encourages innovation.