Cuban Impressions, Part 3

Pictures taken in Havana, Cuba, during our second Phillips Collection trip to visit the 11th Havana Biennial, May 21–28, 2012. The (pre-revolution) building in the center was designed in 1958 by the Cuban architect Antonio Quintana Simonetti. It houses the Ministerio de Salud Pública, the Ministry of Public Health, as well as murals by Afro-Cuban surrealist painter Wifredo Lam and the Cuban revolutionary artist Raúl Martínez.

Calle 23, Havana, Cuba, May 27, 2012. Photos: Klaus Ottmann


Experiencing the Extraordinary in Art

Brice Marden, Ru Ware Project, 2007–2012, Oil on linen. Nine canvases, each: 24 x 18 inches. Matthew Marks Gallery, New York

Brice Marden, Ru Ware Project, 2007–2012, Oil on linen. Nine canvases, each: 24 x 18 inches. Matthew Marks Gallery, New York

 

In my book The Genius Decision: The Extraordinary and the Postmodern Condition I raise the question: How does one account for those rare and extraordinary works of art that set themselves apart from others? The experience of extraordinary works of art cannot be explained solely in geographical, cultural, or formal terms. In fact, the extraordinary in art cannot be explained at all. The event of the extraordinary in art remains inexplicable – a mystery that is traditionally described by the notion of genius. Even Sigmund Freud, when confronted with Leonardo da Vinci’s “unanalyzable artistic gift,” admitted to the failure of psychoanalysis in explaining artistic creation: “We should be most glad to give an account of the way in which artistic activity derives from the primal instincts of the mind if it were not just here that our capacities fail us.”

What distinguishes the experience of extraordinary works of art from other experiences is that it succeeds in uniting the shared experience of beauty with a noncommunicable personal experience of the sublime – a division that found its most extensive philosophical treatment in Immanuel Kant’s Critique of Judgment, first published in 1790. Kant distinguished between a communal, pluralistic judgment of taste, the sensus communis aestheticus (which refers exclusively to the beautiful and is characterized by a universal comunicability without mediation of a concept) and a private, individualistic feeling of the sublime. Within eighteenth- and nineteenth-century aesthetics a fundamental change had taken place that shifted attention from the beautiful to the sublime, changing an originally populist notion of art into cultural elitism.

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