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    Phenomenology After Conceptual Art
    In Daniela Verducci, Jadwiga Smith & William Smith (eds.), Eco-Phenomenology: Life, Human Life, Post-Human Life in the Harmony of the Cosmos, Springer Verlag. 2018.
    The reception of phenomenology in art criticism reached its apex in the mid-1960s in its application to Minimalism in the United States. The focus was on the embodied, direct perceptual experience of Minimalist sculpture, but in light of Conceptual art’s ‘dematerialised’ practices which developed as the decade progressed, the interest in phenomenology waned. This paper looks at the history of this reception and presents Merleau-Ponty’s late ontological work as a corrective to an inadequate under…Read more
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    In Phenomenology of Perception Merleau-Ponty tells us of how the phenomenon unfolds and its unfolding is never complete: there is no total view of being to be had. Being as phenomenon is, because of this, non-objective: it is disclosed, as Heidegger would put it, in proportion to its being concealed. Both Heidegger and Merleau-Ponty suggest, in their different ways, that this obscure counterpart to the disclosed world, forgotten in objective thought and instrumental rationality, is nonetheless s…Read more