Urban Landscape
Art as Philosophy

Kofi Fosu Forson

New York City as an urban landscape makes provisions for a proper schedule within the realms of art and philosophy.

Given the differing prospects for philosophy, Jewish as well as Black intellectualism refine what is secured as a city of many influences. They can be at times radical or driven by academia. With respect to the many colleges and universities that define New York City, the common man and his willingness to have an opinion on a variety of topics, whether at a bar or a cocktail party is an example of the modern day thinker and peruser.

The evolution of the artist in a city like New York, giving much deserved honor to the flamboyant Warhol-inspired 1980’s, stemmed from an art community. Perhaps one studied at The Metropolitan Museum of Art or S.V.A. and the public high schools that devoted attention to literature, music and art.

The East Village defined the bohemian culture. Art was significantly a means of existence and financially it was affordable. Despite the disillusionment that framed the minds of many, it was acceptable to be an artist.

Art and philosophy stems from a psychology that defines the individual. It is best addressed as a societal and emotional disease. Much of this can be attributed to advertisement, pressure among peers, personal evolution and sexual management.

Disease can also be devalued in persona, hybridism, biochemistry and lineage. Those that are body conscious are forced to maintain habits they can’t keep. Overall health is a factor in every sense of maneuverability.

Psychosexually, heterosexuals and homosexuals encourage a lifestyle dependent upon decisions made driven by the libido. This stretches from vernacular to the eventual partners they form a relationship.

In the given modern day, sexuality has undertaken a guaranteed attempt at satisfying the ego, more so than replenishing the need for love.

The artist as a philosopher is then free to manufacture a quantitative and qualified understanding of universality.