Art Mind Beauty
vol 28 no 2, 2008
Art/Mind/Beauty tackles one of the questions exercising the minds of philosophers in the age of neuro-science - how does the mind create notions of beauty and why are some artists and audiences drawn to the fragile, the shimmering, the highly decorative and the nature-inspired? Has contemporary art been diminished by the absence of these visual pleasures? Perhaps beauty and a sense of the ineffable have crept back without our noticing. Could this be related to a fear that time is running out for the natural world? Artists who inspired this issue include Imants Tillers, Jon Cattapan, John Mawurndjul, Doreen Reid Nakamarra, Catherine Woo, Stieg Persson, David Keeling and Philip Wolfhagen (painters); Hossein & Angela Valamanesh, Giles Bettison, Kirsten Coelho, Timothy Horn, Ah Xian, Robyn Stacey, Karl Wiebke, Robin Best and Tina Gonsalves (other media). Editor Margot Osborne.
Subscribe to Artlink - from $55. Subscriptions available for readers anywhere in the world.
Australian BeautyAuthor: Ms Margot Osborne, feature
Beauty is problematic for contemporary art theory at least in part because it affords a pleasurable, life-affirming, yet ineffable experience. Yet Margot Osborne finds many examples to show that it has never really gone away.
As Peter Schjeldahl observed in 1996: 'Beauty will be what it has always been and, despite everything, is now in furtive and inarticulate ways: an irrepressible, anarchic, healing human response without which life is a mistake.'
Osborne writes: 'Embodiment, the synthesis of sensibility, skill and material form, is at the heart of beauty...The perception of beauty is an integrative sensual and cerebral experience, dissolving dualities of mind/body and repudiating outmoded art form hierarchies.'
The full text of this article is only available in the printed version of Artlink Magazine.
» Subscribe or order a back issue
Subscribe to the Artlink newsletter now
Articles in this issue
- Artrave: Artrave
- Editorial: Editorial
- Feature: Australian Beauty
- Feature: Gatecrashing the sublime
- Feature: On sunsets
- Feature: Shimmering fields
- Feature: Some digressions on ornament, abstraction and the stowaway
- Feature: The romantic spirit
- Feature: Tina Gonsalves: Unleashing emotion
- Feature: Truth and beauty entangled
- Gallery: Contemporary beauty
- Interview: Ellen Dissanyake: homo aestheticus
- Polemic: The realities of power
- Profile: Cobi Cockburn
- Profile: Karl Wiebke
- Profile: Robin Best
- Review: A new global art history: CIHA 2008 (Congress of the International Committee of the History of Art)
- Review: Annie Hogan: A Survey
- Review: Chaos and revelry: Neo-Baroque and camp aesthetics
- Review: Chris Pease
- Review: Handle me gently: Olga Cironis
- Review: Handle with care
- Review: I am a good boy
- Review: In response to conversations with a therapist as a narrative device: Martin Smith
- Review: Insights and a conversation
- Review: Letting Go: Lee Salomone
- Review: Liminal
- Review: Now that I am a man I can go to war: Angela Lynkushka
- Review: One night only project
- Review: Papunya Painting: out of the desert
- Review: The 32nd congress of the international committee of the history of art (CIHA)
- Review: The Ship of fools: recent paintings, Bill Brown
- Review book: Aesthetics and material beauty: aesthetics naturalized, Jennifer A. McMahon
- Review book: Blubberland: the dangers of happiness, Elizabeth Farrelly
- Review book: The Formalesque: a guide to modern art and its history, Bernard Smith
- Review book: Visual Animals, Edited by Ian North