Reluctant Modernity: The Institution of Art and Its Historical FormsRowman & Littlefield, 1998 - 211 páginas In this book, Ales Debeljak offers a refreshing alternative to postmodernists such as Baudrillard, who declare the death of art conceived as yet another source of rootless, circulating fictions. Inspired by the melancholy critical theory of Adorno and Benjamin, and drawing on Weber, Debeljak shows that with the dawning of modernity, art was made autonomous. Art production was effectively emancipated from the exigencies of everyday life and its guiding ideal of purposive rationality. The Renaissance brought on the first stage in a long, gradual withdrawal of art from the hitherto dominant mythological, religious, and aristocratic legitimization. Yet it was not until the 18th century that art assumed the separate status of a commodity to be bought and sold. However, art paid a price for its autonomy; through commodification art production ultimately become an extension of capitalist logic and control. The deterioration of bourgeois liberal individualism into the narcissism of mass society accompanied the decomposition of art into simplified mass art and commercialized kitsch. Maintaining its formal autonomy (museums, galleries, etc.), its content became the universal object of indirect corporate exploitation. Today postmodern art, argues Debeljak, is subjected to infinite reproducibility, total integration into mass society, and political resignation--no longer representing an alternative reality. The postmodern institution of art thus cannot be simply cured of modern structures and assumptions, but is, instead, fated to a continuous and painful relationship with modernity. |
Índice
Framing the Logic of Modernity | 1 |
The Bourgeois Public Sphere in Modernity | 25 |
The Institution of Art in Modernity | 59 |
The Dissolution of the Bourgeois Public Sphere | 87 |
The Institution of Art in Postmodernity | 127 |
189 | |
199 | |
About the Author | |
Outras edições - Ver tudo
Reluctant Modernity: The Institution of Art and Its Historical Forms Aleš Debeljak Pré-visualização limitada - 1998 |
Reluctant Modernity: The Institution of Art and Its Historical Forms Aleš Debeljak Visualização de excertos - 1998 |
Palavras e frases frequentes
Adorno advanced capitalism aesthetic Aestheticism Aleš Debeljak argue aristocratic art production art's articulated artistic artworks autonomous art avant-gardist become Benjamin bourgeois individualism bourgeois public sphere bourgeois society bourgeoisie bureaucratic Bürger capitalist capitalist market capitalist mode century claims commodity commodity fetishism communication concept consciousness consumer consumption contemporary Critical Theory critique culture industry Dadaism Dialectics of Enlightenment domination economic epistolary novel everyday experience fin de siècle freedom function Habermas heteronomous historical avant-garde human institution of art institution of autonomous labor legitimation life-world literary logic means mechanisms mediating modern art modern social formation modernist art moral museum nomic particular patron political Pop Art possible postmodern postmodern art potential principle radical rational reality realm reception Romanticism social status social-historical sociological specific status of art structure symbolic theoretical tion traditional social formation transformation turn ultimate universal value-spheres values Weber Wollin