A SHORT ARTICLE ON ART EXPRESSION

by Stephen Kaltenbach

 

Often overlooked in Stephen Kaltenbach’s oeuvre is an essay that he wrote in late 1968 entitled, “A Short Article on Art Expression”.  

First published in the School for Visual Arts newspaper, A Short Article would appear again the next year in the catalog for Harald Szeemann’s groundbreaking “When Attitudes Become Form” exhibition in Bern, Switzerland in March, again in a NYC publication entitled, JULY 1969 and last in the exhibition brochure for Kaltenbach’s solo show at the Whitney Museum, “Room Alterations” in late 1969.  

This essay is simultaneously deceptively simple and deeply profound and seeks to define art expression through a series of statements and questions related to the manipulation and alteration of perception.

In 2016, Kaltenbach released, "A Short Article on Art Expression" as a limited edition, typeset letterpress print on Reich;s Savoy #118 White heavy paper, 24" x 18", S/N in pencil by the artist, edition of 25 (5 A/P),  $1,500 & free shipping in the US.

Below is an image of the print and below that is the actual text of "A Short Article on Art Expression"

 

 

The Print

Typeset Letterpress print on Reich;s Savoy #118 White heavy paper

24" x 18", edition of 25 (5 A/P),  $1,500 & free shipping in the US.

 

 

 

The Text

 

A SHORT ARTICLE ON ART EXPRESSION.

The manipulation of perception is a valid goal of art expression.

The alteration of perception is a valid means for art expression.

There are three factors which determine the nature of any perception: the object perceived, the environment in which the perception takes place, and the person who experiences the perception.

It is possible to manipulate an object to achieve an alteration in the perception of the object or the environment. An object may also be manipulated to bring about an alteration in perception itself.

The environment may be manipulated to attain a modification of the perception of an object or the environment. A manipulation of perception per se may also be achieved through a manipulation of the environment.

It is possible to manipulate an observer to achieve an alteration in his perception of an object, of his environment, or to simply initiate a change in his perception.

QUESTIONS

1. Is it important that an artist be able to consider these manipulations separately even though it may be impossible to initiate one without affecting others?

2. Is it important for an artist to be able to distinguish between manipulation of perception as a means for art expression from its manipulation as a result?

3. Is there a significant difference between the manipulation of the perception of an object or an environment and the effecting of a change in perception per se?

4. Do the following fields of endeavor have potential as means for art expression: art education or education itself, art history, the dissemination of art information and opinion, art dealing and patronage?

5. Does the manipulation of perception by the application of psychotherapy or meditation techniques or drugs hold potential as a means for art expression?

6. Has this article potential value as a work of art?

 

 

 

 

 

 

 

 

 

 

 

 

 

 


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