Lesley Chamberlain continues
with van Gogh's Boots
For Heidegger in The Origin of the Work of Art the work makes itself anew each time it ‘goes to work’. In fact his idea meant he could perfectly well accommodate van Gogh’s Shoes.
Heidegger believed the role of the artist was to place the work in an effective context so that it could spring alive. By spring alive, or, as he said, create a clearing for being, he meant I think present us with an intense and sublime sense of the materiality of our existence, skin against rain, leaf against stone. Closely related to the philosophical vision of Being and Time (1927) his art thoughts pre-war were ontological, about the work of art’s co-being with our own, and they still toyed with the idea of true or authentic experience. Anticipating developments much later in the century, and mostly in a leftwing political camp, Heidegger declined an interest in the artist’s personality and his formal practice and favoured the experience of the common man of a certain reality.
The problem I see with this is that, in OWA, the Boots
don't fully "go to work" as a work of art, because they're hanging in a gallery. The paradigm example of a work of art in OWA is the Greek temple at Paestum
; what is called "public art" further down the post.