Philosophy in art is fundamental to the practice of an artist. It is attributed to the way in which we perceive the world, and more importantly how we act within it. The history of philosophy is dense and complex like many areas of study, yet here we shall look at how philosophy has influenced the Art World in particular. Philosophy in Art has historically been Religious, Mythological, and Spiritual. It has only been the past few centuries that we have seen the Art World take on a more Political and Post-Modern expression through its carnal longing for purely aesthetic pursuits. The investigation of art philosophically leads to various metaphysical truths. Yet, the question is not what truths do we choose to act out individually, but rather what is a collective way of being that leads us to a universal Philosophy of Art?
A universal Philosophy of Art, and even an individual Philosophy of Art, is not easy to articulate, let alone act out in one’s artistic practice. It is a dynamic and complex process capable of shifting and morphing into something entirely different from the “truth” in which it started. The “truth” is not easily found, and if one wishes to speak to the “truth” in their practice, one is taking the first steps in obtaining it. In art we see philosophy take on both a narrative, and a carnal expression. There are those who manifest objects and color for the sake of manifestation itself, and there are those who express objects and color within a narrative framework. Acting within a narrative framework seems to rise toward a higher purpose, a telos of sorts. Yet in contrast, acting solely within carnal desire and aesthetics seems to expose a truth, but falls flat in the end. Yet, what would it look like to have a marriage between both narrative and carnal expression? Clearly art can manifest itself on both a linguistic and aesthetic level, but how are these metaphysical temperaments supportive and or detrimental to one another?
In contemporary art we often do see a sense of carnal longing through a myriad of aesthetic pursuits. The idea of the “ready made” object, (Marcel Duchamp), was an idea that came out of the industrial temperament of seeing modern objects and design as an art within itself. The idea of form and space became a huge source of inquiry and investigation. Yet, it did this with almost the entire elimination and deconstruction of narrative. Bruno Muri writes in ‘Design As Art’ that, “The literary element in a visual work of art was the first to be discarded in favor of a pure visuality, and it was understood that with the means proper to the visual arts one could say many things that could not be put into words. It was therefore left to literature to tell these stories.” ie. the art historian, curator, gallerists, etc.”
This is not to say that all contemporary art is void of narrative, in fact quite the contrary, modern artistic expression can never run away from narrative and narrative itself, but the clamor toward purely aesthetic expression we see today seems to situate itself outside of narrative. This is seen in many abstract and conceptual artists today who are very concerned with the installation and the presentation of their work, rather than the underlying philosophical, spiritual, and or political narrative it could communicate. This is a philosophy of art based on solipsism and sensuality, rather than an attempt to participate within the canon of art itself.
This temperament toward sensuality and a solipsistic philosophy is an important investigation in the grand scheme of things, although we must be careful not see this as a means to an end, or rather again as the telos for art itself. Let us not forget what history has taught us when we see the origins of art arising out of Religious, Mythological, and Spiritual narratives. The narrative of human history is the narrative of our collective spiritual triumphs, hardships, and various political revolutions. The future of our collective artistic expression is dependent on us recalling the wisdom that arises out of this ancestral past.
Religion, Mythology, and Spirituality are a collection of narratives that hold roots in our ancestral past. Each speaks to the higher truths of what it means to be a spiritual and creative being. It is through these narratives and the visual expression that arose out of them, that we rediscover creative forces bigger than ourselves. Carl Jung speaks elegantly in ‘Man and His Symbols’ when he states,
“Myths go back to the primitive storyteller and his dreams, to men moved by the stirring of their fantasies. These people were not very different from those whom later generations have called poets or philosophers. Primitive storytellers did not concern themselves with the origin of their fantasies; it was very much later that people began to wonder where a story originated.”
So… Where did these stories originate, and how can they inform us when conceptualizing a universal Philosophy of Art? These stories seem to come from our ancestral past and our strange unconscious awareness of symbolism and mythology. This unconscious perception of symbolism and mythology must be nurtured through literary erudition, otherwise we are in danger of being swayed and misguided by false narratives. We are seeing a resurgence of such curiosity for the unconscious, symbolic, and mythological narratives of our ancestral past… Akin to some sort of “archaic revival”.
“The ancient history of man is being meaningfully rediscovered today in the symbolic images and myths that have survived ancient man. — Other symbols are revealed to us by the philosophers and religious historians, who can translate these beliefs into intelligible modern concepts. These in turn are brought to life by the cultural anthropologists. They show that the same symbolic patterns can be found in rituals or myths of small tribal societies, unchanged for centuries, on the outskirts of civilization.” — Joseph L. Henderson — “Ancient Myths and Modern Man”
It is through this rediscovery of spiritual and mythological narratives that we can shine light on the collective ennui we seem to be enveloped by in the modern world. Secular institutions and secular communal lifestyles naturally do not nurture our spiritual and mythological tendencies. Secular institutions see science and the development of technology as the ultimate end toward a political and industrial utopia.
This juxtaposition of the spiritual and the secular, or the religious and scientific, sparks a conversation once again on our hopes of a marriage of both narrative and carnal sentiments. This battle and debate is not a new one, in fact it seems to have originated in the Renaissance and the Hellenistic Eras and looks to still be a debate, not only in the art world, but the broader political and religious landscape of the entire world.
So, what can we attribute and learn about secular and solipsistic art? Art that seems to be void of spirituality, mythology, and narrative? First we can speak upon the revolution and explosion of conceptual and performance based art in the 1960’s. The most notable movement is arguably the Fluxus movement. A prime example of secular and deconstructed artistic expression. Many artists, writers, philosophers, and musicians that came from the Fluxus movement followed the example of Dada, and most notably the example of Duchamp and his conception of the “ready made” object. During the 60’s Fluxus based practitioners seemed to be hitting a wall on what they felt could be expressed from a traditional “fine art” perspective, ie. painting and sculpture. The only direction left was moving toward a “feeling” or rather an experience within itself through object, space, and performance.
Individuals such as George Maciunas, Nam June Paik, and Yoko Ono were pioneers of the Fluxus movement and most likely the most notable. The performances and art pieces that came out of Fluxus seem to have much to do with creating novel and experimental art pieces, via objects from the industrial world, and seeing these objects in relation to the body, as well as the broader public. These performance based installations open novel ways of perceiving and experiencing art, and like most experimental movements during the time, received indignation from artistic institutions, and the elites of the cultural zeitgeist. Many saw their installations and performances as nonsensical and adolescent, and in many ways they were, yet many would say that was the whole point. Maciunas proudly claimed that Fluxus was an “anti-art” movement. An expression of nonsensical performance, filled with visuality and emotion, yet void of meaning and narrative.
The philosophy and ideas that arose from Fluxus are the same ones that seek to deconstruct our relationship to spirituality and mythology. It is founded on the goal to break down traditional narratives, and replace them with infinite conceptual novelty. Oh how important such ideas as, ‘anti-art’, deconstruction, and satire can be for the artist and their journey toward understanding. Yet, we must ask ourselves the question, what better form of philosophy can be more sustainable and does not lead us astray with no foundation in the end?
If we as artists are wise, we would realize that true understanding does not come from object, space, and performance alone. Rather it comes from the narrative investigation of what these objects, spaces, and performances can communicate: philosophically, spiritually, and mythologically. Those who have no spiritual faith, and or belief will disagree, yet those who see the world through a spiritual lens, will see that art for the sake of art, or experience for the sake of experience, will not sustain or fulfill our need to be a part of a grand and collective narrative.
Fluxus, and every influence Dada, Postmodernism, and Deconstruction has had on the art world is here to stay. And indeed there is much room for these works and writings of said artists and philosophers, albeit how do we use the benefits of nonsensical expression, and deconstructed narratives as a means to find our way back to a universal Philosophy of Art?
A Philosophy of Art that sees narrative as the foundation of all spiritual and political revolutions. This leads us to the philosophies, ideas, and ways of being that WILL nurture our spiritual and mythological temperaments, not just for our own identities, and the cultural expressions that come from them, but narratives that speak to our collective participation in the canon of art.
It is best to once again look to the past to find answers on why narrative has been so influential to collective and cultural expression. There are many artistic mediums that represent and speak to spiritual and mythological narratives. For one, the written word is the most obvious and prolific. There can be no replacing the mythological narratives that underline our ancestral past. Religious scripture, novels, art history, music, poetry, etc. the rest of the documentation of the past, holds the foundation of our collective human experience. The narratives of the past art are in fact precursors to all visual art, and many if not all visual artists pay homage to these collective narratives all the time.
For the sake of bringing forth examples of visual artists that are agents of spiritual and mythological narratives; we will highlight specifically the work of The Mexican Muralist. More specifically the work of the prolific José Clemente Orozco. Many of his public murals deal with themes and hardships of the Mexican Revolution (1910–1920) as well as the broader narratives of the working class and its tension with the bourgeoisie of the times. These themes are seen throughout his work, but one thing that separates his perspective, style, and aesthetic temperament from others is his grandiose, and oftentimes, spiritually and mythologically heavy subject matter.
Murals such as:
‘Prometheus’,
‘Departure of Quetzalcoatl’,
and ‘Gods of the Modern World’
All showcase depictions of mythological narratives and figures of his personal expression and how these figures are not only present, but immortally engraved within the drama and tragedy of Mexico’s cultural history. Orozco was not solely interested in being an artist to express his solipsistic and or abstract vision, nor his personal “existential dread”, rather he was dedicated to the expression of a collective suffering and the triumph of his people and their place within such political ennui. To do this in a non-superficial fashion, and through a surreal and symbolic lens, showcases how Orozco values and shows reverence toward collective narratives and the often tragic and mythological terrain that comes with them.
To point out more modern examples of artists that use spiritual and mythological narratives in their work, let’s take a look at the work of Francisco Moreno (b.1986), a Dallas based painter born in Mexico City. Like Orozco the subject matter in Moreno’s work is surreal, figurative, and shines light on both social and political angst, as well as the mythologies that come from such collective and modern dilemmas.
Paintings such as:
‘Melancolia II’,
‘The Artist at Work’,
& The Allegory of Weed Gummy and Alcohol Induced Anxiety’,
All hold narratives linked to the ennui of being enveloped in a techno-mythic modernity. His paints, colors, and techniques are clearly on display as well and enhance the way in which these narratives elevate to a collective dialogue and experience. His work, like many others who find themselves inspired by spiritual narratives, will stand the test of time in the same way that the great master works of the past have done. This form of narrative expression holds true to the figurative tradition in renaissance painting which seems to have slowly dissipated as movements like Fluxus and other “ready made” inspired expressions have risen to the forefront of the art world.
Now it is important to point out that, like Moreno, there are many examples of modern artists who work within these narratives, and it is not only figurative and muralistic painting that can hold spiritual and or mythological implications. There is a realm of abstraction that holds profound implications for collective narratives in a way that figurative work can not. A form of spiritual abstraction that refers more to a collective sensation that rings true to inner spiritual experiences. In the long run, for the sake of enlightening the secular world, forms of abstract spiritualism are far more obtainable and relatable to the secular world than traditional figurative work can be.
One of the fathers of abstraction is the great Wassily Kandinsky. Not only was he a practitioner and pioneer of abstraction, but he was also a philosopher and theorist who took head to spiritualism within the examination of color and form. In his book, “Concerning The Spiritual In Art”, Kandinsky articulates the ways in which color and form act as agents for the spiritual and mythological, and shine forth to communicate broader meaning over abstraction for the sake of abstraction.
“Those who could speak have said nothing, those who could hear have heard nothing. This condition of art is called ‘art for art’s sake’. This neglect of inner meanings, which is the life of colors, this vain squandering of artistic power is ‘art for art’s sake’.”
Indeed much abstraction today is based on the desire to express color and texture for the sake of producing a “feeling” for their audience, or even more vulgar, their desire to sell work to collectors and patrons, in hopes of filling their homes with art for purely decorative and ostentatious reasons. But, fortunately there have been many other examples of abstract artists who do not express themselves be these shallow means.
“The other art, that which is capable of educating further, springs equally from a contemporary feeling, and at the same time not only an echo and mirror of it, but also has a deep and powerful prophetic strength. The spiritual life, to which art belongs and of which she is one of the mightiest elements is a complicated but definite movement forwards and upwards. This movement is the movement of experience. It may take different forms, but it holds at the bottom the same inner thought and purpose.”
This speaks to the dilemma that is often found in all spiritual experience an artist may have… an inevitable process which leads to the realization that you must realize your own spirit alone, and in turn, understand one’s place in a collective spiritual landscape. Kandinsky was also wise enough to warn those who could not see this truth as enviable and encouraged many to not fall victim to a kind of solipsistic abstraction.
The great Yves Kline not only a monochrome abstract painter but a philosopher and thinker in his own right, wrote in is collections of writings entitled, “Overcoming the Problematics Of Art”,
“What is sensibility? It is what exists beyond our being yet belongs to us always? Life itself does not belong to us. It is with our own sensibility that we can purchase life. Sensibility is the currency of the universe, of space, and of Nature. It allows us to purchase life in the first material state.”
Indeed our inner sensibility can force us outside ourselves into a more profound sensibility that takes us higher into realization of more divine attributes of nature. This sensibility is not only found in art and painting, but within everyday life and the industrial and ecological surroundings we find ourselves in today. This leads us closer to a universal Philosophy of Art we can all adopt and encourages collective narratives.
Klein was also a visionary when he gave a speech about what he called,
“The Center Of Sensibility.” a Community Arts & Education endeavor:
“The Center Of Sensibility has the mission to reveal the possibilities of creative imagination as a force of personal responsibility. — It is possible to reach that point through pure sensibility. Presently, this is a matter of recognizing the decayed state and problems of Art, Religion, and Science.”
And what are those problems of Art, Religion, and Science? And why do they seem to pose the exact question we are proposing in this essay…?
It is because fundamentally Art, Religion, and Science are all rooted in Philosophy to begin with. Concepts, principles, and morals, are all acted out within these frameworks and are not just conceptualized and theorized metaphysically, therefore this universal Philosophy of Art should be acted out with the realization that we are both spiritual and carnal beings within a marriage of reason and emotion; The understanding of Religion & Science.
So how do we define both frameworks that are measurable and infinite at the same time… what is at the source of it all? Even when we conceive and try to speak of such things we fall short, for how do we speak of the ineffable and ideas of the spirit? The conception and even simple thought of trying to encounter the spirit is acted out and then the spirit becomes an agent that flows through our lives, and within the narratives of the past, present, and future. The question is what narrative is the spirit telling us, and how can it be expressed within the art world and beyond?
To develop a conception of a universal Philosophy Of Art, we must utilize various philosophies that see both visual mediums and the written word as agents of Artistic, Religious, & Scientific narratives. This universal philosophy will be taught and learned through the written and spoken word, and can only truly be found within the artistic practice of those artists, philosophers, and thinkers who wish to participate in a collective narrative. Collective Narratives and practical embodiment are key in the discovery of a new way of being. The philosophy, narrative, and applied way of being of an artist’s work must be paramount if one wishes to speak to a timeless and universal truth. Timeless and universal truths are found in the engagement, prayer, and rituals of those who tap into an embodied wisdom that is higher than one’s self. Therefore the embodiment of one’s Divine Self must be realized in order to graduate into a collective, timeless, and universal way of being. Once again this process of divine individuation is a prerequisite toward one’s participation in a collective narrative. For how can a collective narrative sustain itself, if those who proclaim it are not fully developed and grounded within its principles?
And what are these principles…? It’s hard to say, because everyone’s relationship to the spirit and the mythologies that speak to their heart is varied, complex, and multilayered, not only culturally, but more importantly individually. Regardless of one’s upbringing, everyone has access to various symbols, teachings, and forms of narratives that speak true to themselves. It is up to the individual to grow closer to that which speaks to oneself, and in turn show reverence to the faiths and traditions, that speak true to others.
This universal Philosophy of Art is based on the merge and collaboration of both true and false narratives in order to build toward a universal narrative we all can participate in. For we already participate unwillingly when we enter into the world as fallen spiritual beings within carnal bodies.
Once we see the one within the many, we can develop a lens in which we all can participate, not only in a universal Philosophy of Art, but in a map of the world. The world is full of cultural abundance. It is through this abundance that greater truth and greater narratives can be formed. As we refine our vision as Artists we begin to participate in greater truth and the narrative of the one and the many. A universal Philosophy of Art will only be formed through this process of seeing artistic expression as forever unfolding into a collective narrative of the future.
If we are able to find ourselves humble, and with faith, we can realize that true artistic wisdom is only found when we pay homage to a power and spirit that is grater than our own. And IF this universal Philosophy of Art we speak of is sought after and truly found… Then it would speak to something grater than ourselves and collectively look upward to the heavens with hopes of finding deeper narratives for our future.
