Wijaya's Biografi

NYOMAN WIJAYA

Born                      : Tabanan, Bali, November 1971

Education              : 1998-2003 Study life drawing in SANGGAR SENIN 
KAMIS, sanur, Bali.

Solo Exhibition      : 2009 “ AS. SENT ” , Kendra Gallery, Seminyak Bali.

Group Exhibition   : 2012 “EKUMENE”  GAYA ART SPACE, Ubud,Bali

                               2012 “ILUSTRASI KOMPAS” Bentara Budaya, 
         Jakarta, Jogya

                               2011 “PAINTING @DRAWING”, Tony Raka Gallery, 
         Mas Ubud.

                               2010 “ MITOS KECANTIKAN, Green Art Space, Jakarta.

                               2010 “ MOTION & REFLECTION, Galeri Nasional, Jakarta.

                               2009 “ FASCINATION “ Andi’s Gallery, Jakarta.

                               2008 “ ASEAN WATER COLOUR 2008 “ Neka Art 
 Museum, Bali.

                             “ EXPANDING CONTEMPORARY REALISM " 
  Akili Art Museum, Jakarta.
“ MANIFESTO “ Gallery Nasional, Jakatra.
“ COSMETIC CULTURE “ Kendra Gallery, 
  Seminyak Bali.

  2006 “ THE REAL THING “ Lirik Gallery, Bandung.

  2005 “ PRE BALI BIENNALE “ Darga Gallery, Bali.

  2004 “ MEMBACA REALISME “ Nava Art Gallery, 
    Denpasar, Bali.

  2003 “ NARASI REALISTIK “ Klinik Taxu, Denpasar, Bali.

  2001 “ SESARI “ Gedung Titik Dua, Denpasar, Bali.

  1999 “ BALI-YOGYA PAINTING EXHIBITION “ Kuta, Bali.

  1998 “ FIGURE DRAWING EXHIBITION “ Sanur Raya, 
             Bali.

  Awards :

  18 Nomination of Akili Museum of Art Award 
  (AMAA) 2008.

 “Beauty is the only thing that time cannot harm” – Oscar Wilde

[in English]

For many Balinese, the cow is the sort of animal that holds more cultural than natural significance. The cow has ties with the cultural attitudes and beliefs of the Balinese, generally those who follow Hindu-Balinese religion. Altough beef is more often consumed by non-Balinese, not a few Balinese still keep cow to be bought and sold. It is common for Balinese village children to help their parent tend and raise cow, as in Nyoman Wijaya’s family, who made a living as cttle breeders in addition to farming. “From the time I was small, I learned how to take care of cows, so that I could stay in school by selling cows”, Wijaya says. “At first, I saw it as something that was just ordinary. Until one day, after I’d already grown up, my father got cheated and failed in running his cattle trading business. From that point on, I started thinking about the cows as an important and special subject in my life journey,” he adds. Further, he explains, “I wanted the theme of “cattle” to enter andbe present in a series of my journeys of awareness as a painter.”

to find ideas for his artworks, Wijaya often went to the place where cows are sold in a village near his home-a site he has known since childhood. Among the crowds of people, Wijaya portrayed the cows he observed-tied up, lined up, or sometimes, alone. Once the traders agreed on the sale, the cows’ bodies would be branded, to give them an identifiying mark to distinguish their new owners. Wijaya tried to understand this: “these are signs for living creatures that are then seen as commodities. That’s something tht happens not only to cows, but to other creatures, by other marks and means.” My sense is that Wijaya not only wishes to lament the tragedy of the cows’ plight; he is in fact trying to remember the critical meaning of a culturally validated, living event, as if to say it is something we can no longer avoid. Wijaya’s paintings are not merely a matter of a story of cows; most importantly, they are precisely a reflection of his life experience.

The realistic tendencies in Wijaya’s paintings are also aided by photographic technology. He nolonger directly faces the model forthe pantings (the cows andthe ambience of the cattle market he has experienced), but instead recalls them through photographic data. Here lies a critical point: that a photographis not just significant as visual data alone. Theoretically, a photo feels meaningful exactly because it carries various memories. As the art theorist John Berger said: “(w)hat served in place of the photograph, before the camera’s invention? The expected answeris the engraving, the drawin, the painting. The more revealing answer might be: memory. What photographs do out there in space was previous done with reflection.” If we continue intended to accurately ‘emulate’ the photographic representation of the model. I think that Wijaya, by enhancing, reducing, even altering parts of his photographic results in his own particular ways, wants to imbue painting with the enduring capacity for strong reflective power that it once had in the era before the invention of photography.

An important focus of Wijaya’s attention is the questionof memory. ‘Memory’ is the paramount keeper of the dialectics of history, the means through wich the dialectics between the past and the present or the future become possible. ‘Memory’ keeps track of the past that forms our present. We critically rely on ‘memory’ to turn history into ‘contemporary history’. Understood in terms of existantial values and meaning, the pastis really not so much a series of events that have already happened as a part of what has already been and is still in the process of happening in our as yet incomplete consciousness. The past, in existential awareness, forms part of an ‘ideal’, still unfinished situation, or a kind of mission of consciousness that must be brought to a closure. All of Nyoman Wijaya’s life experiences-including the range of events and feelings he so often experienced in being at the cattle market-can never really be adequately represented by telling story. Their expression in his paintings, in this context, is an attempt to serve as a means of revealing them. Wijaya breathes new life into the fields if his canvases as areas that show the intense involvement of hid personal experience.

The representation of realistic forms in Wijaya’s paintings, in practice, take shapes as the subject of his expressive task. On the surfaces of his cavases, Wijaya sometimes leaves thick, expressive brushstrokes; at other times they are thin, or seem to be transparent and in motion. Thus, the fields of form related to the cow subject matter that Wijaya is working on attempt to move our emotional awareness. Here, we arrive at the phenomenological instilling of the intentional quality (intentionality) evoked by the objects we perceive, as recognized bythe philosopher, Merleau-Ponty, who noted that: “colours, patterns, and textures of sensory experience, before they are the qualitiesof objects, are the thick interaction which manifest the disclosive, intentional structure of experience.”  The paintings of Wijaya clearly associate, on the one hand, the problem of forms (cows) as visual data that are photographic, and even, at times, carry a narative; and on the other, the processing of color and the effects of its use on empty field of the canvas.

In many studies, efforts to understand representational paintings are not infrequently biased. Discussions of mimetic images in representational paintings are more often directed at artistic expression as a step in readingthe signs [they stand for], leaving behind aspects of the aesthetic considerations they convey. Consequently, representational (or realistic) paintings are deemed meaningful because of the issues they depict, or the themes of the problems they portray. The realistic paintings of Nyoman Wijaya are precisely trying to go beyond the trap of that biased model of study, by emphasizing aspects of the working of the field of the painting, and the expressive application of color to the mimetic forms he is dealing with. Wijaya stresses the expressive dimension of the planes ifhis canvases without having to engange in the deformation of forms too far from the chosen subject matter of his realistic paintings.

The art theorist, Nelson Goodman noted the clear connection between the emotions and matters of understanding, commonly understood as two problematics as mutual odds with one another. Goodman also saw that often, typical ways of understanding art as symbols and as aesthetic attitudes are enganged precisely as ways of understanding that temporarily abandon any consideration of problems of aesthetic values, and turn mainly toward a reading of the context for understanding. However, in practice, according to Goodman, things do not happen this way, because the feelings aroused by an artwork actually actas sources of understanding for us. It is precisely the aspect of emotional sensitivity, like that of perceptual sensitivity, that makes it possible for us understand the subtle, yet significant elements within a particular work of art. “... [I]n the art,” Goodman wrote, “ emotions function cognitively.” Therefore, it is inthe character of the color fields accompanying the images of the cows in Wijaya’s paintings to serve as none other then a consolidation of traces of understanding that hold emotional value. These expressively pronounced depictions of cows divert our memories from being just memories of the ‘object of the cows as powerless victims’ into active subjects of reflection.

As explained by Goodman, the manifstationof expression is actually not just limited solely to the emotional aspects of things. The aesthetic symbols articulated in an artwork presuppose the other parts that it posits (theme, narrative, context, etc.) metaphorically. So there is no ‘limit’ on subjects that cannot be revealed in the expression of a given work of art. The expression in a work of art can disclose a range of different issues about and within our life experience, or even exemplify a kind of warning or cue, or tale of dramatic value that we have not experienced before, for example, concerning the issues of ‘sacrifical’ or dying cows in a number of Wijaya’s works can be seen as a way to understand the values of life experiences that take ‘scrifice’ and ‘death’ as their starting points. Of course, for some people,the matter of livestock being killed to make foodstuffs available for consumtion seems to take place as ‘law’ of nature that has  become customary. Yet for others, say, if you are someone who firmly believes in Buddhist or Hindu teachings, it becomes an issue that can be understood differently. As a sign for cultural awareness and attitudes, the subject matter of cows is a kind of learning material for Wijaya. He certainly does not aim to protest to the world that no more cows should be slaughtered or sacrificed. His paintings, to me, are actually about showing, in his own characteristic manner, a means of expression that brings someone to an acceptance of differences in values (even at the risk of involving ‘sacrifice’ until death). Thus, it is as if we are rendered capable of affirming the values of ‘cruelty’ and ‘unrewarded sacrifice’ in a way that is not easy to explain in words.

In the context of our life experience, we often get to the point of having an affirmative attitude toward various ‘negative’ events that we cannot deny (as in the case of wars and natural disasters, as well as animal sacrifice) and cannot be undone, which we think of as having the certainty of a ‘law’. It is there that we reach the limits to reasonable explanation of all sorts of thing that we try to understand. It is precisely there too that we begin exploring the experience of the sublime. The famous 18th century philosopher, Edmund Burke, began trying to understand sources that inspire the experience of the sublime. The experience of the sublime, for Burke, was “whatever is fitted in any sort to exercise the ideas of pain and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror.”  The sublime is not a matter of the danger or horror itself, but the instilled value we gain from such an experience. So we need a ‘certain distance’ of some sort to reach that instilled value, so as to ‘go beyond’ the point of the reality of the event in concrete terms. It is this kind of insstilling, too, that becomes an important source of aesthetic experience. As Burke also noted: “terror is a passion which alaways produce delight when it does not press to close.”

The paintings of Wijaya, for me, seem to be seeking a pathway for us to find our way to that sort of sublime acceptance. Look at how Wijaya allies realistic representations, in the process of attempting to go beyond our usual modes of reasoning, which may be biased because of the seemingly obvious subject matter of the work-also due to how commonly we respond to photographic and realistic appereances.these paintings are attempting to reach a mode of reception that calls for emotional sansations.

Many of us have never actually been to places like a cattle trading market or abattoirl, at least, am one such person. Most of us, although we may be fond of consuming beef, have never really considered, moreover dwelled upon, the matter of ‘where’ beef comes from and ‘how’ it comes to be. Wijaya, with his characteristic culrural distance and attitude, is trying to comprehend the journey of  ‘fate’ of the cows, and to placeit in artistic signs.

Finally then, the ‘cow’ paintings of Nyoman Wijaya are truly not an affair of cows, but rather, a matter of instlling values about the meaning of sacrifice and also, death, in a way that is elegant as well as beautiful.

Rizki A. Zaelani

[dalam Bahasa Indonesia]

Bagi banyak orang Bali, sapi adalah jenis binatang yang lebih bermakna kultural ketimbang natural. Sapi memiliki kaitan dengan sikap budaya dan kepercayaan orang Bali pada umumnya yang beragama Hindu-Bali. Meski daging sapi lebih banyak dikonsumsi oleh masyarakat non-Bali, tidak sedikit orang Bali yang tetap memelihara sapi untuk diperdagangkan. Umum bagi anak-anak Bali di desa membantu para orang tua mereka memelihara dan membesarkan sapi, seperti halnya keluarga Nyoman Wijaya yang hidup sebagai peternak sapi selain juga bertani. “sejak kecil, saya memang belajar memelihara sapi, agar saya bisa tetap sekolah dengan menjual sapi itu”, ungkap Wijaya dalam satu percakapan. “Pada awalnya, saya menganggap itu sebagai hal yang sudah biasa saja. Sampai suatu hari, setelah saya dewasa, bapak pernah tertipu dalam menjalankan usaha berdagang sapi. Sejak saat itu, kemudian, saya mulai berfikir bahwa sapi adalah pokok yang penting dan khusus dalam perjalanan hidup saya” katanya lagi. Tegasnya: “Saya ingin tema tentang ‘sapi’ masuk dan berada dalam rangkaian perjalanan kesadaran saya, sebagai seorang pelukis”.

Untuk menemukan karya-karyanya, Wijaya sering pergi ketempat penjualan sapi di kampung sebelah tempat tinggalnya-lokasi yang sudah dikenalnya sejak ia kecil. Diantara kerumunan orang-orang, Wijaya memotret sapi-sapi yang nampak terikat: berjejer, atau kadang sendirian. Jika para pedagang sepakat untuk menjual, sapi-sapi itu akan diberi tanda pada tubuhnya untuk memberi ciri dan membedakan pemiliknya yang baru. Wijaya mencoba paham soal itu: “itulah tanda-tanda bagi makhluk hidup yang kemudian dianggap sebagai komoditas. Itu juga kejadian yang mungkin tak hanya terjadi pada sapi, tapi pada makhluk yang lain, dengan cara dan tanda yang lain”. Saya rasa, Wijaya bukan hendak meratapi nasib-nasib sapi itu sebagi kemlangan; ia justru mencoba mengingat makna penting satu peristiwa hidup yang berlaku secara kultural, atau seolah-olah, tak lagi bisa kita hindari. Lukisan-lukisan Wijaya memang bukan melulu soal cerita mengenai sapi, yang terpenting justru refleksi tentang pengalaman hidup.

Kecenderungan lukiasan realistik Wijaya juga dibantu pememanfaatan teknologi fotografi. Ia tak lagi menghadapi model lukisannya (sapi dan suasana pasar sapi yang dialaminya) secara langsung, selain justru mengingatnya lagi via data fotografi. Ada soal penting disitu, bahwa: selembar foto tak berarti sebagai data-data visual saja. Secara teoritis, selembar foto justru dianggap penting karena mengandung berbagai ingatan. Teoritisi seni John Berger mengatakan: “(w)hat served in place of photographi; beffore the camera’s invention? The expected answer is the engraving, the drawing, the painting. The more revealing answer might be: memory. What photographs do out there in space was previous done with reflection”. Jika kita terus cermati lukisan Wijaya, maka cara melukis realis yang dikerjakannya memang bukan hendak ‘menyaingi’ model representasi fotografik secara akurat. Saya pikir, Wijaya dengan caranya menambah, mengurangi, bahkan mengubah bagian-bagian dari hasil foto-fotonya secara khas itu, justru hendak menjadikan sebuah lukisan bisa tetap memiliki daya refleksi yang kuat sebagaimana dulu berlaku di era sebelum ditemukan forografi.

Perhatian penting bagi Wijaya adalah soal ingatan. ‘Ingatan’ adalah penjaga terpenting dialektika sejarah, yang dengannya dialektika antar masa lalu dengan masa kini atau masa mendatang menjadi mungkin. ‘Ingatan’ melacak masa lalu yang membentuk masa kini kita. Pengharapan penting kita pada ‘ingatan’ akan menjadikan sejarah jadi ‘sejarah masa kini’. Dalam pemahaman mengena makna dan nilai eksistensial, masa lalu sebenarnya bukan hanya rangkaian peristiwa yang sudah terjadi selain adalah bagain dari apa yang telah dan tengah terjadi dalam kesadaran kita yang belum selesai. Masa lalu, dalam kesadaran eksistensial, adalah bagian dari ihwal ‘yang ideal’ yang belum tuntas, atau menjadi semacam misi kesadaran yang harus diselesaikan. Seluruh pengalaman hidup Nyoman Wijaya-juga termasuk berbagai peristiwa dan perasaan yang sering dialaminya berada di pasar sapi-, memang tak akan pernah cukup bisa terwakili oleh narasi sebuah cerita. Ekspresi pada lukisannya, dalam hal ini, mencoba jadi cara untuk menyatakannya. Wijaya menghidupkn bidang-bidang pada kanvasnya sebagai bagian-bagian yang menunjukkan keterlibatan pengalaman diri yang bersifat intens.

Representasi bentuk realistik pada bentuk-bentuk lukisan Wijaya, pada prateknya, berlaku sebagai bidang-bidang garapan yang bersifat ekspresif. Pada bidang kanvas-kanvasnya Wijaya kadang meninggalkan jejak sapuan kuas ekspresif yang tebal, kadang menjadi tipis, atau nampak transparan dan bergerak. Dengan demikian, bidang-bidang bentuk pada subyek matter sapi yang dikerjakan Wijaya mencoba menggerakkan kesadaran emosional kita. Di sini, kita sampai pada penghayatan fenomenologis tentang kualitas intensional yang ditampakkan obyek-obyek yang kita cermati sebagaimana diakui filsuf Merleau-Ponty, bahwa: “colours, patterns, and textures of sensory experience, before they are the qualities of objects, are the thick interaction which manifest the disclosive, intentional structure of experience”. Lukisan-lukisan Wijaya jelas menghubungkan persoalan bentuk-bentuk (sapi) sebagai data-data visual yang bersifat fotografik dan bahkan kadang mengandung narasi pada satu sisi; dengan sisi lainnya: pengolahan warna dan efek pemakainnya pada bidang-bidang kosong kanvas.

Dalam banyak kajian, tak jarang, usaha untuk memahami lukisan-lukisan yang bersifat representasional berlaku bias. Imej mimetik pada lukisan-lukisan representasional sering mengarahkan pembahasan ekspresi seni lebih menjadi langkah pembacaan tanda-tanda dari bentuk mimetik dan meninggalkan aspek pertimbangan estetik yang dikandungnya. Akibatnya, lukisan-lukisan representasional (atau, lukisan realis) dianggap bermakna karena persoalan yang digambarkannya. Lukisan-lukisan realis Nyoman Wijaya justru tengah mencoba melampaui jebakan model kajian yang bias itu dengan cara menekankan aspek-aspek penggarapan bidang lukisan dan aplikasi pewarnaan yang ekspresif bagi bentuk-bentuk mimetik yang dikerjakannya. Wiajay menunjukkan penekanan dimensi ekspresif bidang kanvasnya tanpa harus melakukan deformasi bentuk yang terlalu jauh bagi subyek matter lukisan realistik yang dipilihnya.

Teorisi seni Nelson Goodman pernah menyatakan laitan yang tegas antara aspek emosi dan soal pemahaman, yang umumnya dipahami sebagai dua pokok masalah yang saling bertentangan. Goodman juga melihat, bahwa sering cara memahami seni yang khas sebagai simbol-simbola dan sikap estetik dilakukan justru sebagai cara memahami yang meninggalkan untuk sementara pertimbangan soal nila-nilaiyang bersifat estetik dan beralih lebih pada pembacaan konteks pemahaman. Padahal pada praktek, menurt Goodman, tidaklah berlaku demikian karena sapek-aspke perasaan yang digugah karya seni sebenarnya berlaku juga sebagai sumber-sumber pemahaman bagi kita. Aspek sensitivitas emosional, seperti halnya juga aspek sensitivitas perseptual, justru memungkinkan kita memahami bagian-bagian yang subtil namun signifikan yang di kandung suatu karya. “in the arts”, ungkap Goodman “emotion function cognitively”. Maka karakter bidang warna berikut imej sapi pada lukisa-lukisan Wijaya tak lan menjad gabungan dari jejak-jejak pemahaman persoalan yang mengandung nilai emosi. Gambaran tentang sapi yang dinyatakan secara ekspresif itu mengalihkan ingatan kita dari hanya tentang ‘obyek sapi yang yang tak berdaya sebgai korban’menjadi subyek renungan yang bersifat aktif.

Dalam penjelasan Goodman, manifestasi ekspesi memang tak hanya terbatas melulu soal aspek perasaan. Simbol-simbol estetik yang dinyatakan pada karya seni memisalkan bagian-bagian lain yang dinyatakannya (soal: tema, narasi, konteks, dll) secara metaforik. Sehingga tak ada ‘batas’ persoalan yang tak bisa dinyatakan dalam ekspresi suatu karya seni. Ekspresi karya seni bisa mengungkapkan berbagai persoalan tentang dan dalam pengalaman hidu kita, bahkan menunjukkan semacam peringatan dan kisah-kisah bernilai dramatik yang tak kita alami sebelumnya, misalnya: soal pengorbanan atau kematian. Subject matter sapi ‘yang berkorban’ atau mati pada beberapa karya Wijaya bisa dilihat sebagai cara untuk memahami nilai-nilai pengalaman hidup tnetang bertolak dari persoalan ‘pengorbanan’ dan ‘kematian’. Tentu bagia sebagian masyarakat, soal kematian hewan demi tersedianya bahan akanan untuk dikonsumsi seolah-olah berlaku sebagai ‘hukum’ alam yang telah dilumrahkan. Tetapi untuk sebagian lainnya, misalnya: anda adalah seseorang yang memegang teguhh ajaran Buddha atau Hindu, hal itu jadi persoalan yang bisa dipahami secara berlainan. Sebagai tanda bagi sikap dan kesadaran kultural, subject matter sapi bagi Wijaya adalah sebuah bahan pelajaran. Wijaya, tentu saja, tak hendak memprotes dunia agar seluruh sapi-sapi tak pernah lagi dipotong, atau dikorbankan. Lukisan-lukisannya, bagi saya, justru tengah menunjukkan cara ekspresi yang menggantarkanpenerimaanseseoorang mengenai persalan nilai-nila perbedaan (bahkan pada resiko yang menyangkut ‘pengorbanan’ hingga kematian) dengan caranya yang khas. Dengan demikian, kita seolah-olah menjadi mampu untuk mengafirmasikan nilai ‘kekejaman’ dan ‘pengorbanan tanpa balas’ itu dengan cara yang tak mudah dijelaskan oleh kata-kata.

Dalam konteks pengalaman hidup, kita sering smapai pada sikap afirmasi terhadap berbagai peristiwa ‘negatif’ yang tak bisa kita sangkal (sepertihalnya juga soal: peperangan, bencana alam, atau pengorbanan hewan) dan kadung kita anggap sebagai keniscayaan suatu ‘hukum’. Di situlah sebenarnya kita sampai pada batas penjelasan nalar tentang segala sesuatu yang coba kita pahami. Tepat disana pula kita mulai ihwal penjelajahan pengalaman sublim. Filsuf sohor abad ke-18, Edmund Burke, mula coba memahami sumber-sumber pengahayatan pengalaman sublim ini. pengalaman sublim, bagi Burke, adalah “whatever is fitted in any sort to exercise the ideas of pain and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror”. Sublim bukan soal tentang bahaya atau horror itu sendiri tetapi semacam nilai penghayatan yang kita peroleh dari suatu pengalaman. Maka, kita memerlukan semacam ‘jarak tertentu’ untuk sampai pada nilai pengahayatan tersebut sehingga ‘melampaui’ soal-soal kenyataan dari peristiwa itu secara konkrit. Penghayatan semacam itu pula yang jadi slaah satu sumber penting bagi suatu pengalaman estetik. Menurut Burke pula: “for terror is a passion which always produces delight when it does not press too close”.

Lukisan-lukisan Wijaya, bagi saya, seperti sedang mencari jalan bagi kita agar sampai pada cara penerimaan yang bersifat sublime tersebut. cara Wijaya menggabungkan gambaran yang bersifat realistik dan gabungannya dengan keterampilan pengerjaan sapuan warna yang bersifat puitik itu tengah berusaha melampaui cara penalaran kita yang bisa bias akibat subject matter karya yang nampak gamblang- diantaranya juga akibat cara umum penerimaan kita pada penampakkan yang bersifat fotografik dan realistik. Lukisan-lukisan ini mencoba untuk sampai pada cara penerimaan yang menghendaki sensasi yang bersifat emosional.

Banyak diantara kita yang memang tak pernah sampai ke tempat-tempat semisal pasar perdagangan sapi atau tempat penjagalan sapi- setidaknya, saya adalah salah satunya. Lebih banyak dantara kita, meski gemar mengkonsumsi daging sapi, memang tak pernah menganggap apalagi merenungi perkara ‘dari mana’ dan ‘bagaimana’ daging sapi itu berasal. Wijaya, dengan sikap dan jarak kulturalnya yang khas, mencoba memahami perjalan ‘nasib’ para sapi ini dan menempatkannya dalam tanda-tanda yang bersifat artistik.

Akhirnya, lukisan-lukisan ‘sapi’ Wijaya ini memang bukan perkara tentang sapi, selain soal penghayatan nilai tentang makna pengorbanan dan serta kematian secara elegant juga indah.

Rizki A. Zaelani

Kurator

Endnotes:

1.    Http://quote.robertgenn.com/getquotes.php?catagory=beauty

2.    John Berger, Uses of Photography, in About Looking (New York: Vintage Book, 1991), p. 54.

3.    See Clive Cezeaux, Marleau-Ponty, in the Continental Aesthetics Reader, ed. Clive Cezeaux (New York London: Routledge, 2000), p. 76

4.    See Nelson Goodman, Languages of Art, (Indianapolis: Hackett, 1976), p. 245-52

5.    Ibid. p. 45

6.    Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful, ed. J.T. Boulton (Notre Dame: University of Notre Dame Press, 1968), p. 39-40

7.    Ibid. p. 46