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Art and Objects
Graham Harman
polity
Copyright © Graham Harman 2020
The right of Graham Harman to be identified as Author of this Work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988.
First published in 2020 by Polity Press
Polity Press
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Cambridge CB2 1UR, UK
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Medford, MA 02155, USA
All rights reserved. Except for the quotation of short passages for the purpose of criticism and review, no part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher.
ISBN-13: 978-1-5095-1271-3
A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data
Names: Harman, Graham, 1968- author.
Title: Art and objects / Graham Harman.
Description: Medford, MA : Polity, 2019. | Includes bibliographical references and index.
Identifiers: LCCN 2019008491 (print) | LCCN 2019017058 (ebook) | ISBN 9781509512713 (Epub) | ISBN 9781509512676 (hardback) | ISBN 9781509512683 (pbk.)
Subjects: LCSH: Aesthetics.
Classification: LCC BH39 (ebook) | LCC BH39 .H367 2019 (print) | DDC 111/.85--dc23
LC record available at https://lccn.loc.gov/2019008491
The publisher has used its best endeavours to ensure that the URLs for external websites referred to in this book are correct and active at the time of going to press. However, the publisher has no responsibility for the websites and can make no guarantee that a site will remain live or that the content is or will remain appropriate.
Cover illustration: Beuys, Joseph (1921-1986): Telefon SE (Telephone T R), 1974. New Digitale (1)(A) York, Museum of Modern Art (MoMA). Multiple of two cans with paint additions and string, each 4 3/4 x 3 15/16” (12 x 10 cm); other (string): 70 7/8” (180 cm). Riva Castleman Endowment Fund. Acc. n.: 914.2005.© 2017. Digital image, The Museum of Modern Art, New York/Scala, Florence
Every effort has been made to trace all copyright holders, but if any have been overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition.
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Abbreviations
IClement Greenberg, The Collected Essays and Criticism, Vol. 1IIClement Greenberg, The Collected Essays and Criticism, Vol. 2IIIClement Greenberg, The Collected Essays and Criticism, Vol. 3IVClement Greenberg, The Collected Essays and Criticism, Vol. 4AAMT.J. Clark, “Arguments About Modernism”ABRobert Pippin, After the BeautifulADJacques Rancière, Aesthetics and its DiscontentsAEAArthur Danto, After the End of ArtANAPeter Osborne, Anywhere or Not at AllAOMichael Fried, Art and ObjecthoodAOARobert Jackson, “The Anxiousness of Objects and Artworks”AAPJoseph Kosuth, “Art After Philosophy”ATMichael Fried, Absorption and TheatricalityAWArthur Danto, Andy WarholBBJElaine Scarry, On Beauty and Being JustBNDHal Foster, Bad New DaysCGTAT.J. Clark, “Clement Greenberg’s Theory of Art”CJImmanuel Kant, Critique of JudgmentCRMichael Fried, Courbet’s RealismDBGavin Parkinson, The Duchamp BookESJacques Rancière, The Emancipated SpectatorFIT.J. Clark, Farewell to an IdeaGDGraham Harman, “Greenberg, Duchamp, and the Next Avant-Garde”HEClement Greenberg, Homemade EstheticsHMWMichael Fried, “How Modernism Works”KADThierry de Duve, Kant After DuchampLWClement Greenberg, Late WritingsMMMichael Fried, Manet’s ModernismNOBettina Funcke, “Not Objects so Much as Images”OAGRosalind Krauss, The Originality of the Avant-GardeOCLeo Steinberg, Other CriteriaOOSRoger Rothman, “Object-Oriented Surrealism”OURosalind Krauss, The Optical UnconsciousPAJacques Rancière, The Politics of AestheticsRRHal Foster, The Return of the RealTCArthur Danto, The Transfiguration of the CommonplaceTNHarold Rosenberg, The Tradition of the New
… le chef-d’oeuvre qu’on regarde tout en dînant ne nous donne pas la même enivrante joie qu’on ne doit lui demander que dans une salle de musée, laquelle symbolise bien mieux, par sa nudité et son dépouillement de toutes particularités, les espaces intérieurs où l’artiste s’est abstrait pour créer.
Marcel Proust, À l’ombre des jeunes filles en fleur, p. 199
Preliminary Note
It is well known that Modernism in the visual arts finds an intellectual basis in Immanuel Kant’s Critique of Judgment (1790), and more recently in the work of the pivotal American critics Clement Greenberg and Michael Fried. Kant is often called a “formalist” in his approach to art, despite not using the term in this connection. But he does speak of formalism in his ethical theory, and we will see that the reasons that motivate the term’s appearance in
