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A carregar... 9.5 Theses on Art and Class (edição 2013)por Ben Davis (Autor)
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Ben Davis draws the curtain back on the contemporary art world to assail its commodified roots. Não foram encontradas descrições de bibliotecas. |
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Google Books — A carregar... GénerosSistema Decimal de Melvil (DDC)701.03The arts Modified subdivisions of the arts Philosophy and theory of fine and decorative artsClassificação da Biblioteca do Congresso dos EUA (LCC)AvaliaçãoMédia:
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Visual artists “ceded the field of depicting reality as photographic entrepreneurs and film moguls outflanked the masters of pigments and modeling clay; eventually, they were trumped in sheer imaginative might as the ‘culture industries’ refined their special effects and absorbed increasingly impressive quantities of creative talent,” leaving “a predominantly middle-class tradition in a largely defensive struggle as capitalism progressively undercuts its status.” This uniquely middle-class status, he argues, can explain visual art’s focus on the individual producer and small production. One implication: “art’s need to justify itself as intellectually superior to mass culture … would clearly be as much about raw commerical interst as it is contingent intellectual posturing. It is … a way of justifying its superior cachet to a class of potential consumers.” But unlike the situation in Pierre Bordieu’s day, pop culture is now often more technically sophisticated than modern fine art. The result: aesthetic distance, not mastery, is the aesthetic virtue to which artists appeal. Visual art is more like fashion, “where designers make esoteric prototypes that are then reprocessed for mass consumption, where they find their true home.” Another consequence: production becomes more like architecture or film, with the artist directing others to achieve the artist’s vision. But different works are differently suited to this treatment—they have to be both “suitably iconic and suitably abstract,” so they tend to “deemphasize personal vision and nuance and center more around the familiar values of mass entertainment and consumption,” as Damien Hirst does. But whether art is “traditional” or “conceptual,” its supposed problems compared to the other type are “just the displaced face of the market itself, with its tendency to transmogrify and vulgarize everything.” The lesson: “there are no formal or aesthetic solutions to the political and economic dilemmas that art faces—only political and economic solutions.” Ultimately, he hopes for a socialism that will allow future theorists to look at art under capitalism the way we now look at older religious art: “We can appreciate how for thousands of years the drama of religion was a primary vehicle for expressing compassion, suffering, and the aspiration for a redeemed world, and still feel that this art is confined to a framework that is narrower than the one from which we now operate.” ( )