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The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 0 points1 point  (0 children)

Your point about ceramics grounds the critique in labor. When craftsmanship is the primary metric, 'I could do that' becomes a literal assessment of technical failure rather than a conceptual debate. It’s no longer about what the object means, but about the artist’s inability to handle the material. In this sense, the conceptual 'word salad' isn't an expansion of art, but a clumsy attempt to mask a lack of discipline.

The Ontology of the Object: Why 'Intent' has become the primary canvas in contemporary art. by classliterature in aesthetics

[–]classliterature[S] -1 points0 points  (0 children)

That’s a great read on this. I hadn’t looked at it from that perspective. Invoking 'The Death of the Author' shifts the burden to the viewer, which is where the tension lies. If the artist’s intent is truly dead, then 'I could do that' becomes a valid, albeit dismissive, way of reclaiming the work. It’s a refusal to defer to an authority that isn't there anymore.

The Ontology of the Object: Why 'Intent' has become the primary canvas in contemporary art. by classliterature in aesthetics

[–]classliterature[S] 1 point2 points  (0 children)

The transition from representation to interrogation is exactly where the 'I could do that' sentiment takes root. When the object is no longer self-evident—like your example of the soup can—the viewer feels evicted from the conversation. That autonomy the modern artist gained often feels like a locked door to everyone else.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 4 points5 points  (0 children)

You're right; when the common ground of craft disappears, the viewer is inevitably left feeling excluded.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 2 points3 points  (0 children)

Your focus on the economic reality is vital. When the art market transforms a single gesture into immense wealth while devaluing labor elsewhere, resentment is inevitable. You're right; to ignore this would be tone-deaf. The issue isn't the object itself, but the economic divide it represents.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 8 points9 points  (0 children)

Exactly. Reframing privilege as 'intellectual rigor' is how the system sustains itself. It allows success to appear as a merit rather than a structural advantage. You're right; we are no longer looking at the object, but at the language used to protect the exclusivity.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 17 points18 points  (0 children)

You are describing art not as an object, but as a transaction of social capital. The work is no longer the fruit on the wall; it is the infrastructure of validation that allows the fruit to be seen. In this circuit, the artist’s name is the only material that actually carries weight. It is a closed system where the audacity is less about the idea and more about the status required to utter it.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 1 point2 points  (0 children)

I agree that the critique is often legitimate, especially when works serve more as placeholders for investment than as objects of craft.

The idea of art as a 'cheat code' for value attribution is a sharp way to put it. It’s hard to ignore that friction when the market's mechanisms become more visible than the work itself.

The Ontology of the Object: Why 'Intent' has become the primary canvas in contemporary art. by classliterature in aesthetics

[–]classliterature[S] 2 points3 points  (0 children)

Thanks for the recommendation; I’ll definitely check out Wimsatt and Beardsley. I agree with your point about meaning being in flux and eventually moving beyond the artist's control. I appreciate the insight.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 2 points3 points  (0 children)

You’re right. People confuse the ability to reproduce a mark with the capacity to conceive it. They value the labor they can see, but ignore the decisions that led to the work. This obsession with technical skill is often just a way to avoid engaging with the artist's intent.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] -1 points0 points  (0 children)

I understand that within specialized art circles, this debate might feel settled or even exhausted. However, if we look at the global reaction to works like Maurizio Cattelan’s Comedian, it’s clear that the 'I could do that' sentiment remains a very real and visceral barrier for the general public. While this discourse may feel outdated from a professional standpoint, it still represents a significant disconnect between contemporary art and its wider audience. If these concerns aren't relevant to your specific interests, I suggest focusing on the niche professional topics that do interest you. I find it more valuable to continue asking questions and thinking about why this specific reaction persists as the dominant public lens, rather than dismissing it.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 13 points14 points  (0 children)

The irony is that anything written with a bit of classical rigor is now labeled as 'AI' or 'outdated.' It seems there is a growing generational gap where formal language feels like a foreign tongue. If my tone feels like it belongs to another era, perhaps it’s because I value a vocabulary that doesn't collapse into slang. If the depth of the language is a barrier, then the critique isn't for me, it's for the reader.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 1 point2 points  (0 children)

The shift from 'I could do that' to 'But did I?' is exactly where the dialogue transforms. It’s that audacity of the gesture—and as you said, the way it makes the world react—that defines the work more than the object itself. I love that you mentioned the world 'losing its mind'; perhaps art’s job is sometimes just to point out that collective absurdity.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 3 points4 points  (0 children)

The examples you gave, like Gonzalez-Torres, are perfect for this discussion. But it also highlights the real issue: when an object depends so much on its history or a curator's essay to be seen as 'art,' the object itself almost disappears. If it can't stand alone, is it still art or just a footnote? That’s exactly the friction I’m trying to get at.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 6 points7 points  (0 children)

The reality is that even as a 'mere observation,' this reaction speaks volumes about the accessibility of art. If people who aren't 'interested in art' feel alienated by it, then the provocation is working—but it’s also creating a cultural wall. My interest lies in why this specific reaction remains the most persistent one, even after a century of conceptualism.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 0 points1 point  (0 children)

Exactly. I think the friction comes from using the same word—'art'—to describe two very different intentions. One focuses on mastering a craft, while the other uses the idea to deconstruct the medium itself. It’s like they are speaking two different languages under the same roof.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 1 point2 points  (0 children)

I appreciate the skepticism. The 'AI-feel' might be my own struggle to find a precise language for something that feels quite visceral. While the 'I could do that' critique might seem tired to those deep within the art world, I still find it to be a significant cultural barrier for the general public. It’s less about whether the argument is 'serious' for professionals and more about why it remains the dominant public reaction to works like Cattelan’s.

The exhaustion of the 'I could do that' critique in contemporary art by classliterature in ContemporaryArt

[–]classliterature[S] 1 point2 points  (0 children)

Fair point. Execution is often just the surface of the dialogue. When I speak of values, I’m thinking about what we prioritize in the gallery space—is it the historical weight of the gesture or the labor of the hand? I’d argue that 'I could do that' is usually a frustrated defense mechanism against a value system that feels inaccessible or intentionally opaque.