The next enlightenment: aesthetic reason in modern art and mass culture

2005 ◽  
Vol 9 (1) ◽  
pp. 43-67 ◽  
Author(s):  
Morton Schoolman
2009 ◽  
Vol 54 (2) ◽  
pp. 123-143
Author(s):  
Bernadette Collenberg-Plotnikov

›Ikonen‹ sind heute nicht mehr nur die Ikonen der christlichen Kirche, sondern vor allem die Ikonen der modernen Massenkultur. Beide Arten von Ikonen werden in der neueren Kunstreflexion aufgegriffen: Kunst gilt entweder, verstanden als Erbin der religiösen Ikone, als Phänomen, das Absolutes in singulärer Weise anschaulich er- fahrbar macht. Oder aber die Kunst gilt umgekehrt lediglich als Klasse in der Welt der säkularen Ikonen. Demgegenüber wird im Beitrag erstens die These vertretenwerden, daß die neuere Kunst sowohl Aspekte transzendenter als auch immanenter Ikonen umfaßt. Zugleich ist es aber, so die zweite These, für unser Kunstverständnis charakteristisch, ein theoretisches Kontrastverhältnis zwischen Kunst und Ikone an- zunehmen. Dieses gründet auf einer spezifischen Reflexivität der Kunst, durch die sie sich von der Ikone beiderlei Art kategorial unterscheidet. Today, the word ›icon‹ usually no longer refers to the icons of the Christian church, but to the icons of the modern mass-culture. Both sorts of icons play a key-role in the recent discussion about art: Either art is supposed to be a descendant of the religious icon, a phenomenon that gives us a singular visual experience of the Absolute. On the other hand, art is supposed to be just one class among others in the wide world of the secular icons. In contrast to these two positions this essay contends that modern art comprehends aspects of transcendent as well as of immanent icons. Furthermore, it argues that at the same time it is characteristic for our notion of art to suppose a contrast between art and icon. This contrast is based on a specific reflectivity of art, which marks a categorical difference between art and both sorts of icons.


Author(s):  
Clare Parfitt-Brown

The cancan is a popular dance form closely associated with the Parisian setting in which it emerged and underwent much of its early development. From its origins as a French social dance practice in the early nineteenth century, the dance shifted to a more performative mode of presentation in the late nineteenth and early twentieth centuries. The nineteenth-century cancan involved both male and female dancers performing either solo or in couples, improvising around the quadrille form. The dance attracted the attention of the writers and artists of an incipient Parisian modernism in the 1830s and 1840s, and this connection was reinvigorated in the 1880s and 1890s, particularly within the bohemian culture that centered on the Moulin Rouge. The familiar stereotype of the cancan as a female kick-line refers primarily to the form of the dance that emerged in the early twentieth century, echoing the development of modern mass culture. Later representations of the cancan, particularly in American films of the 1950s, referenced the Moulin Rouge of the 1890s and its connections with both the cancan and the post-Impressionist modern art of Henri de Toulouse-Lautrec.


Author(s):  
Aleksandr Reprincev

The paper focuses on the results of the International Scientific Conference held in Kursk. It explored the relationship between culture and man, the dialectical connection of the theory and practice of modern art education. The participants analysed the evolution of meanings and values of culture in the conditions of a post-industrial, “digital” civilization, drew attention to the artist’s mission of promoting spiritual development, learning, preservation and enhancement of aesthetic values. They discussed issues of training talent in fine art, design, architecture. A special concern of the forum participants is the “computerization” of art, its transformation from a creative sacrament into “technology”, into the mainstream production of “mass culture” products.


2019 ◽  
pp. 16-18
Author(s):  
Alexandra Gennadievna Karateeva ◽  
Tatyana Nikolaevna Adametskaya

The primary purpose of this article is to analyze the state of contemporary art in the context of mass culture: the phenomena of mass and elite art are characterized, the relationships between and mutual influences of various factors of mass art are determined, and the significance of the commercial aspect in the development of contemporary art is revealed.


2021 ◽  
Vol 9 (60) ◽  

The aim of this research is to investigate the reasons why David Hockney addresses daily objects in his works. At the same time, it aims to reveal the nature of the relationship between popular culture and daily objects. Thus, the types of differences between Hockney and his contemporaries will be identified; while determining how pop artists reflect popular culture on their works. The scope of the research includes an analysis of David Hockney’s works. By including works from artists such as Henri Mattise, Andy Warhol, and Fikret Mualla; their relation to the subject has been presented. The subject of this research bears importance in terms of providing a criticism of current issues that are based on daily objects in art. Therefore, the research is divided into artists and eras that can serve as a reference for daily objects and popular culture imageries. The research problems can be listed as: what are the characteristics that separate David Hockney from his contemporaries, why does David Hockney require daily objects in his art works? What is the nature of the relationship between daily objects and popular culture? Are daily objects in art a product of popular culture? In what context do the works of Hockney and Matisse show similarities? What is the connection between daily objects and Duchamp? Are daily objects in art a critique of modern art? It is expected that the answers to all these questions will shed a light on popular culture imageries and art today, along with David Hockney’s works. Thus, once more, this study intends to create awareness to the association of “art and life,” which is frequently used alongside modernism. Keywords: Popular culture imageries, daily objects, David Hockney, mass culture, art and life


1972 ◽  
Vol 17 (7) ◽  
pp. 406-406 ◽  
Author(s):  
EDWARD E. JONES
Keyword(s):  

2019 ◽  
pp. 22-29
Author(s):  
Н. В. Фрадкіна

The purpose and tasks of the work are to analyze the contemporary Ukrainian mass culture in terms of its value and humanistic components, as well as the importance of cultural studies and Ukrainian studies in educational disciplines for the formation of a holistic worldview of modern youth.Analysis of research and publications. Scientists repeatedly turned to the problems of the role of spirituality in the formation of society and its culture. This problem is highlighted in the publications by O. Losev, V. Lytvyn, D. Likhachev, S. Avierintsev, M. Zakovych, I. Stepanenko and E. Kostyshyn.Experts see the main negative impact of mass culture on the quality approach, which determines mass culture through the market, because mass culture, from our point of view, is everything that is sold and used in mass demand.One of the most interesting studies on this issue was the work by the representatives of Frankfurt School M. Horkheimer and T. Adorno «Dialectics of Enlightenment» (1947), devoted to a detailed analysis of mass culture. Propaganda at all socio-cultural levels in the form is similar in both totalitarian and democratic countries. It is connected, according to the authors, with the direction of European enlightenment. The tendency to unify people is a manifestation of the influence of mass culture, from cinema to pop. Mass culture is a phenomenon whose existence is associated with commerce (accumulation in any form – this is the main feature of education), in general, the fact that it exists in this form is related to the direction of the history of civilization.Modern mass culture, with its externally attractive and easily assimilated ideas and symbols, appealing to the trends of modern fashion, becomes a standard of prestigious consumption, does not require intense reflection, allows you to relax, distract, not teach, but entertains, preaches hedonism as the main spiritual value. And as a consequence, there are socio-cultural risks: an active rejection of other people, which leads to the formation of indifference; cruelty as a character trait; increase of violent and mercenary crime; increase in the number of alcohol and drug addicts; anti-patriotism; indifference to the values of the family and as a result of social orphanhood and prostitution.Conclusions, perspectives of research. Thus, we can conclude that modern Ukrainian education is predominantly formed by the values of mass culture. Namely, according to the «Dialectic» by Horkheimer and Adorno, «semi-enlightenment becomes an objective spirit» of our modern society.It is concluded that only high-quality education can create the opposite of the onset of mass culture and the destruction of spirituality in our society. It is proved that only by realizing the importance of cultivating disciplines in the educational process and the spiritual upbringing of the nation, through educational reforms, humanitarian knowledge will gradually return to student audiences.Formation of youth occurs under the influence of social environment, culture, education and self-education. The optimal combination of these factors determines both the process of socialization itself and how successful it will be. In this context, one can see the leading role of education and upbringing. It turns out that the main task of modern education is to spread its influence on the development of spiritual culture of the individual, which eventually becomes a solid foundation for the formation of the individual. Such a subject requires both philosophical and humanitarian approaches in further integrated interdisciplinary research, since the availability of such research will provide the theoretical foundation for truly modern educational and personal development.


1962 ◽  
Vol 16 (2) ◽  
pp. 35-37
Author(s):  
Eileen Bowser

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