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Art and Agency : A Reassessment
Author(s) -
Layton Robert
Publication year - 2003
Publication title -
journal of the royal anthropological institute
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.62
H-Index - 62
eISSN - 1467-9655
pISSN - 1359-0987
DOI - 10.1111/1467-9655.00158
Subject(s) - agency (philosophy) , icon , symbol (formal) , argument (complex analysis) , epistemology , index (typography) , relation (database) , function (biology) , philosophy , aesthetics , linguistics , computer science , biochemistry , chemistry , database , evolutionary biology , world wide web , biology , programming language
In his book, Art and agency , Alfred Gell presents a theory of art based neither on aesthetics nor on visual communication. Art is defined by the distinctive function it performs in advancing social relationships through ‘the abduction of agency’. Art objects are indexes of the artist's or model's agency. This article examines Gell's use of agency, particularly in relation to the ritual art that is central to his argument. Focusing on Gell's employment of Peirce's term ‘index’ (out of his triad of index, icon, and symbol), I note that Peirce's approach deflects attention from signification towards the link between art works and the things to which they refer. I consider what Peirce meant by abduction, and conclude that while Gell makes a good case for the agency of art objects he does not explain the distinctive ways in which art objects extend their maker's or user's agency. Gell lacked the time to make detailed revisions before publication and I acknowledge that, given more time, he might have revised some parts of the book.