Aesthetic Absence and Interpretation
dc.contributor.author | Fenner, David | |
dc.date.accessioned | 2023-09-25T15:08:29Z | |
dc.date.available | 2023-09-25T15:08:29Z | |
dc.date.issued | 2023-09-14 | |
dc.identifier.uri | http://hdl.handle.net/20.500.11956/183945 | |
dc.description.abstract | At least within the last century, artists have produced works that seem to have something missing. Salvatore Garau’s sculpture Sono is (apparently) composed of empty space; the original drawing at the heart of Robert Rauschenberg’s Erased de Kooning Drawing is essentially gone; Rauschenberg’s White Paintings are primarily just white canvases. In this paper, I examine this ‘something missing’ – which I call an ‘aesthetic absence’. These absences are aesthetically relevant to the identities, meaning, and value of the works of art where audiences find such absences, but such relevance can only fully be ascertained and assessed once the absence is resolved, and this resolution comes through an act of interpretation. | en |
dc.language.iso | en | |
dc.publisher | Univerzita Karlova, Filozofická fakulta | cs |
dc.publisher | Helsinki University Press | en |
dc.rights | This is an open-access article distributed under the terms of theCreative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. | en |
dc.rights.uri | http://creativecommons.org/licenses/by/4.0/ | |
dc.source.uri | https://estetikajournal.org | |
dc.subject | absence | en |
dc.subject | interpretation | en |
dc.subject | emptiness | en |
dc.subject | form | en |
dc.subject | anticipation | en |
dc.title | Aesthetic Absence and Interpretation | en |
dc.type | Vědecký článek | cs |
uk.abstract.en | At least within the last century, artists have produced works that seem to have something missing. Salvatore Garau’s sculpture Sono is (apparently) composed of empty space; the original drawing at the heart of Robert Rauschenberg’s Erased de Kooning Drawing is essentially gone; Rauschenberg’s White Paintings are primarily just white canvases. In this paper, I examine this ‘something missing’ – which I call an ‘aesthetic absence’. These absences are aesthetically relevant to the identities, meaning, and value of the works of art where audiences find such absences, but such relevance can only fully be ascertained and assessed once the absence is resolved, and this resolution comes through an act of interpretation. | en |
dc.publisher.publicationPlace | Helsinki | en |
dc.publisher.publicationPlace | Praha | cs |
uk.internal-type | uk_publication | |
dc.identifier.doi | 10.33134/eeja.315 | |
dc.description.startPage | 162 | |
dc.description.endPage | 175 | |
dcterms.isPartOf.name | Estetika: The European Journal of Aesthetics | en |
dcterms.isPartOf.journalYear | 2023 | |
dcterms.isPartOf.journalVolume | 2023 | |
dcterms.isPartOf.journalIssue | 2 | |
dcterms.isPartOf.eissn | 2571-0915 |
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Kromě případů, kde je uvedeno jinak, licence tohoto záznamu je This is an open-access article distributed under the terms of theCreative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use,
distribution, and reproduction in any medium, provided the original author and source are credited.