February 16 – March 23, 2019
The artist’s enterprise engages the artist’s situation of being-in-the-world exhaustively: it is a dream, never completed, of the whole. The enterprise has its origin in the astonishment of perception: that there are things and not nothing, that one’s consciousness is always of some thing and never empty, that one is always intentionally comported with things as things full of meaning. The enterprise presupposes that it is in itself a mode of inquiry into the means of meaning, into the signification of images, into the making visible of the invisible. The artwork is this making visible of the invisible, of the artwork as the visible form of the invisible core of oneself within a world. The artwork is its theory, enacted in visible form, which is as much the theory of life as the theory of art, as much the practice of life as the practice of art. The situation of the artist is at once a vita contemplativaand a vita activa, in which the artwork enacts the unity of perception and interpretation, the unity of cognition and emotion and volition.
The enterprise, then, drawn from the observed world and the sedimented memories acquired in lived experience, becomes the basis of constructing a critique of the conditions of one’s being in the world. Redrawing the figures of Rembrandt’s Syndics as contemporary academics, and redrawing my father’s mechanical drawing of machine parts, I am constructing a critique of the corporate intrusion into academia and the concomitant instrumentalization of education.
pictured above: David Newman, Instrumental Oversight, 2018, lithograph, 20″w x 16″h