Artists never accepted the attribution of genius as readily as theorists and bourgeois admirers applied it. Artists knew too much about the recalcitrantly physical qualities of words, paint, stone, ink, and sounds for that. Artists are as interested in technique as in inspirations. But for Kant . . . . Continue Reading »
Aesthetic consciousness - the capacity to abstract the aesthetic component in all perception, so as to view everything “aesthetically” - also implies, Gadamer argues, a particular notion of simultaneity. Because it abstracts the aesthetic value of the work, and downplays or ignores all . . . . Continue Reading »
After Kant, and especially after Kant’s romantic disciples, art came to be viewed as a matter of beautiful appearance, consciously defined in contrast to practical reality. This had not always been the Western conception of art. Gadamer comments, “Traditionally the purpose of . . . . Continue Reading »
Peter Stallybrass and Allon White ( The Politics and Poetics of Transgression ) summarize a point from Bakhtin: “Bakhtin was struck by the compelling difference between the human body as represented in popular festivity and the body as represented in classical statuary in the Renaissance. He . . . . Continue Reading »
At the end of his intriguing discussion of Gericault’s painting Scene of Shipwreck, Julian Barnes gives a brief summary of the fortunes of Noah in Western art, which he says change significantly after the Sistine Chapel: “In the Sistine Chapel the Ark (now looking more like a floating . . . . Continue Reading »
Featherstone: “one of the characteristics of postmodern art in the 1960s was its attack on institutionalized art: on the museums and galleries, the critical academic hierarchies of taste, and the consecration of works of art as clearly demarcated objects of display. This attack on autonomous, . . . . Continue Reading »
Charles Jencks lamented in his Language of Postmodern Architecture that the term had been used in ways opposite to his own usage: “When I first wrote the book in 1975 and 1976 the word and concept of Post-Modernism had only been used with any frequency in literary criticism. Most perturbing, . . . . Continue Reading »
The Modernday Dictionary of Deceived Ideas offers this definition of postmodernism “This word has no meaning. Use it as often as possible.” Mike Featherstone, who quotes this dictionary, offers a more serious discussion of what postmodernism means when applied to artistic movemements. . . . . Continue Reading »
In an overview of the architectural work of Santiago Calatrava, Sara Williams Goldhagen (TNR January 23) cautions against the chimera of architecture grounded in “nature”: “Maybe the first architects needed to pay obeisance to nature’s designs, but that primal moment is long . . . . Continue Reading »
In his book, Erotic Faith , Robert M. Polhemus offers an intriguing analysis of Bronzino’s Allegory with Venus and Cupid . The allegory suggests that “worship of Venus . . . blinds one to the menace of time and death.” Seeking sexual fulfillment means “betraying self, God, . . . . Continue Reading »
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