Ideological Content Form
Plato's theory maintains that abstract, timeless, and non-material forms comprise the fundamental supreme substance of reality. These forms are not part of the available material world of energetic change sensation. Kant builds on this by defining “a priori” concepts of general object appearance as irreducible categories of pure understanding. Forms in this sense are thus universal eternal conditions of possibility, not specific objects in particular. This notion applied to art produces “purposiveness without purpose” as the embodiment of pure formula existing just for itself as significant form, and not for any other intention. Such significant form constitutes the “disinterested” subject. These notions have been used to justify art as purely formal, completely divorced from ideological content, as elaborated by modernist champions such as Clement Greenburg, Clive Bell, and Roger Fry.
"Torn Form" by wilson hurst 2014
Hegel destabilized form by positioning it in an ever changing historical dialectic. This temporality makes form contingent on dynamic conditions, influenced by a received consciousness of socialization. Thus art is always a combination of form and associated conditioned content, or ideology. An ideology is an aggregate of pulsating conscious and unconscious ideas that constitute expectations, aspirations, and behavior. Implicitly every artwork imposes an ideology, whether or not it is promoted as an explicit system component.
"Time Tunnel Emergence" by wilson hurst 2014
Form versus content, object versus subject, and space versus time, are all conceptual dualities that address similar processes of ever becoming. Each pole is dependent on the other. The internal struggle for self-identification distinguishes particulars as it unities concrete illusions, authentically true. Many ideas come together in visual art, with each work a cultural representation/interpretation of a philosophical thought activated. Gesture sophistication unwittingly merges content, functioning as fragmented frames, nothing but moments of a larger ideological discourse. Cycle of recognition, dynamic equilibrium exposes the temporal content of a fluctuating reality.
"Art Everywhere" by wilson hurst 2014