Continental Philosophy Review 40 (2):151-170 (2007)

Abstract
Heidegger’s paper ‘Art and Space’ (1969, Man and world 6. Bloomington: Indiana university Press) is the place where he gives his fullest discussion of a major art medium which is somewhat neglected in aesthetics, namely sculpture. The structure of argument in ‘Art and Space’ is cryptic even by Heidegger’s standards. The small amount of literature tends to focus on the paper’s role within Heidegger’s own oeuvre as an expression of changes in his understanding of space. This is ironic; for Heidegger’s main thematic in the essay is the way in which space is overcome in the creation of sculpture. Of course, by virtue of its three-dimensional character, sculpture seems to be a spatial medium, par excellence. The counter-intuitive character of Heidegger’s position requires, accordingly, that his argumentative strategy be scrutinized very closely. In this paper, therefore, I will examine closely the structure of Heidegger’s argument, with the aim of understanding, rectifying, and then developing his most important insights. My ultimate aim is to show the subtle, but radical points which are at issue in Heidegger’s arguments, and to develop them much further in the clarification of sculpture’s key philosophical significance.
Keywords Heidegger  Sculpture  Space  Place  Art
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DOI 10.1007/s11007-007-9051-8
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References found in this work BETA

The Fate of Place, a Philosophical History.Edward Casey - 1997 - University of California Press.
Heidegger’s Philosophy of Art.Julian Young - 2001 - Cambridge University Press.
Art and Space.Martin Heidegger - 1973 - Man and World 6 (1):3-8.

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Citations of this work BETA

Sculpture and the Sense of Place.Jakob Due Lorentzen - 2019 - Open Philosophy 2 (1):629-639.

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