“Shigeko Kubota’s l965 “Vagina Painting,” in which she used a brush tacked on to her panties to smear red, menstrual-like paint on a canvas” (Jay 60). Shigeko Kubota performed her Vagina Painting on 4 July 1965 at Cinemateque, East 4th Street New York, during Perpetual Fluxus Festival. This work of art leaves me puzzled. On one hand I feel as though she just really wanted to paint but by the smae token I cannot really figure out the message she is trying to convey with the brush between her legs.
For my final paper I want to use the Kantian perspective to see if tattoos can be defended as an art form. This is intriguing because art is widely accepted in society but tattoos are looked down upon. So if one can defend tattoos using philosophical knowledge maybe something can change in societies perception of them.
Kant’s Critique of Judgement
“Kant’s Aesthetics and Teleology” (Stanford Encyclopedia of Philosophy)
The Madonna of Chancellor Rolin is an oil painting dated back to around 1435 by Jan van Eyck. A majority of Jan van Eyck’s artwork is influenced heavily by religion. He had many painting including the Virgin Mary. Eyck was the most influential painter at this time. It was commissioned by Nicolas Rolin, the duke of Burgundy and was hung in the Saint Sebastian chapel in the church of Autun until 1793. It has been stored in the Louvre since 1805. The painting depicts the chancellor kneeling before the Virgin Mary and baby Jesus. Mary is also being crowned by an angel.
According to Houlgate’s interpretation of Hegel’s philosophy of art, “The form of spiritual inwardness that can best find expression in painting…the highest form of which is the feeling of love” (p. 69). Hegel acknowledges painting depicting christian figures like Mary, Jesus, the Apostles, and others are the purest form of expressing religious love and devotion.
Martha Graham’s “Clytemnestra” ballet is a prime example of dance functioning as an element of theatre. This clip shows that Martha’s technique was not imitated from any other style of dance that existed. “…contemporary dance must be a deviation, since it no longer seemed to have the efficacy- the efficacy arising from imitation-” (Carroll 585)It also shows us how theatrical dance can be. It does not have to revolve around religious ceremonies.