In "A Restriction for Pictures and Some Consequences for a Theory of Depiction", Journal of Aesthetics and Art Criticism 61, 4 (2003): 381-394, Michael Newall defended a resemblance view of depiction. He concentrated on pictures X involving a perpendicular view of the physical surface of another picture Y, and argued that the actual restrictions on what picture X can depict of Y's physical surface are best explained by a strict resemblance or similarity view. But I show that there are many (...) problems with his approach, so that overall it is no more successful than more standard resemblance views of depiction. (shrink)

I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive medium, (...) for which reason I call this kind of content medium content (or medium-related content). (shrink)

There are two aspects to Wittgenstein’s method of deconstructing pseudo-philosophical problems that need to be distinguished: (1) describing actual linguistic practice, and (2) constructing hypothetical ‘language-games’. Both methods were, for Wittgenstein, indispensable means of clarifying the ‘grammar’ of expressions of our language -- i.e., the appropriate contexts for using those expressions – and thereby dissolving pseudo-philosophical problems. Though (2) is often conflated with (1), it is important to recognize that it differs from it in important respects. (1) can be seen (...) as functioning as a direct method of ‘proof’ (i.e., attempt to convince the reader of some thesis), and (2) as an indirect method of ‘proof’ -- proof by reductio ad absurdum. This essay will be devoted to clarifying (2) by forging an analogy with surrealism in art. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge (a-theology and theology, at once) crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. (...) As a form of formalism, this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma (Hegel’s Absolute Knowledge), a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)