I've been reading Robert Hopkins' essay "Speaking Through Silence," on conceptual art.* I take issue with this paragraph:
While I might appreciate, say the audacity of Fountain on seeing it, my experience is not altered by my awareness of that feature. The urinal looks the same whether I'm engaging with audacity or not (...) The idea is that for other art, sense experience plays the role of medium of appreciation; whereas for conceptual art it provides nothing more than means of access to the work.I take the last sentence. So, according to Hopkins, whereas my sense of horror is the medium of appreciation to Caravaggio's Judith Beheading Holofernes,
the same feeling cannot apply in the case of Puto (2007), by Michael Rees.
Why is the "means to access(ing)" my horror NOT a sort of "medium of appreciation"?
Hopkins obsesses too much with the urinal and overlooks Fountain. He takes them to be exactly the same. They are not: Fountain is, and is not, a urinal.
My statement in red is not a logical proposition. Take it as aesthetic amplification. Ready-making automatically turns something into something else.** This act of investing instant "artness" (on urinals, or anything for that matter) is described in this letter sent to the Blind Man by Duchamp himself:
Whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under a new title and point of view – created a new thought for that object.For Hopkins Caravaggio makes you feel more, instead of just, differently than Duchamp.*** For example, in A Propos of Readymades, Duchamp's goes for elimination of the experience (i.e., the dissolving of aesthetic sense):
(...) I want very much to establish is that the choice of these "readymades" was never dictated by aesthetic delectation.This choice was based on a reaction of visual indifference with at the same time a total absence of good or bad taste – in fact a complete anesthesia.I don't know about Hopkins, but I when see Fountain I don't see a urinal. I see instant coffee.
*"Speaking Through Silence," in Philosophy and Conceptual Art, by Peter Goldie, Elisabeth Schellekens (Oxford University Press: 2007). p. 56-58. **Remember Russell's famous 5 Minutes Hypothesis? ***Keep in mind that different styles may demand different analyses. The ways in which we apprehend objects though conceptual cerebration is different from that of more traditional forms of representation. Piero Manzoni's Merda d'artista is not apprehended in the same way than Monet's Déjeuner sur l'herbe.