Responses to Basic Criticisms of Merleau-Ponty’s Philosophy of Art
In this paper, I respond briefly to the criticisms of Véronique Fotí and Michel Haar—two of the many criticisms of Merleau-Ponty’s philosophy of art. The critique by Véronique Fotí has less to do with Merleau-Ponty directly than with the stress he places on the Gestalt in his philosophy of art. According to her, the figure and ground articulation of Gestalt becomes significantly less important in the development of his later thought on the visible and the invisible. In contrast Michel Haar’s devastating critique of Merleau-Ponty’s mature philosophy incorporates typical misunderstandings of his basic positions. I will try to respond to their critical arguments in order to clarify fundamental elements in Merleau-Ponty’s mature philosophy of art and painting.
||Merleau-Ponty, Philosophy, Art, Aesthetics, Phenomenology
The International Journal of Critical Cultural Studies, Volume 10, Issue 2, pp.49-57.
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Teaching Adjunct. PhD Candidate, Philosophy Department, Boston College, Brookline, Massachusetts, USA
I have a BA in Fine Arts from the Universidad Complutense de Madrid in Spain, and a Masters in Philosophy from Boston College. I am currently a Ph.D. candidate in the Philosophy at Boston College and will defend my dissertation on Merleau-Ponty’s Philosophy of Art, Gestalt and Reversibility and a scheduled to graduate in May of 2012. I have taught at Philosophy at Boston College, and I am currently teaching courses in Philosophy, Critical Thinking, Philosophy of Religion and Ethics in the Boston area at Merrimack College, The University of Massachusetts, and Cambridge College. I also teach Advanced Drawing for the Museum of Fine Arts, Boston. I am Co-Curator for the ArtScience Prize at Cloud Place in Boston, an innovation program devoted to learning through the development of breakthrough art and design ideas informed by concepts at the frontiers of science.