Hegel's Aesthetics

2019 ◽  
Author(s):  
Lydia L. Moland
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Aesthetic Experience ◽  
History Of Philosophy ◽  
Philosophy Of Art ◽  
New Approach ◽  
History Of ◽  
End Of Art

Hegel’s Aesthetics: The Art of Idealism is the first comprehensive interpretation of Hegel’s philosophy of art in English in thirty years. In a new analysis of Hegel’s notorious “end of art” thesis, it argues for a variety of ways art ends, including historical, conceptual, and prosaic endings. It shows the indispensability of Hegel’s aesthetics for understanding his philosophical idealism and introduces a new claim about his account of aesthetic experience. In contrast to previous interpretations, it argues for considering Hegel’s discussion of individual arts—architecture, sculpture, painting, music, and poetry—on their own terms, unlocking new insights about his theories of perception, feeling, selfhood, and freedom. This new approach allows Hegel’s philosophy to engage with modern aesthetic theories and opens new possibilities for applying Hegel’s aesthetics to contemporary art. Hegel’s Aesthetics also clarifies why Hegel is known as the “father of art history” by elucidating his controversial analysis of symbolic, classical, and romantic art and by clarifying his examples of each. By incorporating newly available sources from Hegel’s lectures on art, it expands our understanding of the particular artworks Hegel discusses as well as the theories he rejects. Hegel’s Aesthetics situates his arguments in the intense philosophizing about art among his contemporaries, including Kant, Lessing, Herder, Schelling, and the Schlegel brothers. It gives us a rich vision of the foundation of his ideas about art and the range of their application, confirming Hegel as one of the most important theorists of art in the history of philosophy.

Art as Made and Sensuous: Hegel, Danto and the ‘End of Art’

2000 ◽  
Vol 21 (1-2) ◽  
pp. 104-119 ◽  
Author(s):  
Jason Gaiger
Keyword(s):  
Contemporary Art ◽  
Classical Antiquity ◽  
Philosophy Of Art ◽  
Coherent System ◽  
New Science ◽  
European Tradition ◽  
History Of ◽  
End Of Art ◽  
The Right ◽  
Meaningful Role

Hegel's lectures on aesthetics embrace the world history of art in its broadest sense, encompassing the advanced cultures of Asia, Egypt, and Mesopotamia as well as the specifically European tradition that extends from Classical Antiquity through to the art of the Nazarenes and the burgeoning Romanticism of his own day. This attempt to bring the different stages and forms of art into a coherent system and to tell the story of their successive unfolding from the standpoint of philosophy lies at the very heart of Hegel's aesthetics. Indeed, the detailed attention that Hegel pays to the historical development of art has led Ernst Gombrich to recognise him as the founding father of the modem discipline of art history, with all the ambivalence that this expression conveys. In this paper, however, I am concerned less with the way in which Hegel's aesthetics have informed, and continue to inform, our ongoing attempts to understand the art of the past than with the relevance that his ideas still possess in relation to the art of the present. I shall argue that Hegel's aesthetics can tell us a great deal about contemporary art and that, read in the right way, his views provide an important corrective to a significant strand of contemporary art theory.I want to start by addressing something that must be regarded as a considerable obstacle to any such endeavour: Hegel's theory of the ‘end of art’. If, as popular conceptions of this theory would have it, Hegel saw the development of art as in some way a completed historical enterprise superseded in his own time by the new science of philosophy, not only would there seem to be little meaningful role left for art to play in his larger philosophical system but also little that such a philosophy of art can contribute to helping us understand the new and unexpected directions that art has taken, and continues to take, right up to the present day. This interpretation of Hegel's views remains highly problematic and anyone familiar with Hegel's method of argumentation will remain dissatisfied with such a one-sided representation of his position. Nonetheless, the extant text of the Lectures on Aesthetics does appear to offer some support to such claims.

scholarly journals Exhibition Strategies for Videogames in Art Institutions: Blank Arcade 2016

2018 ◽  
Vol 4 (2) ◽  
Author(s):  
Emilie M Reed
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Aesthetic Experience ◽  
Game Studies ◽  
Discursive Construction ◽  
Art Object ◽  
History Of ◽  
Cultural Status ◽  
Exhibition Strategies

While debate over videogames’ cultural status can still become contentious, theorist Bruce Altshuler describes the contemporary exhibition form as a route into art history, and exhibitions of videogames and their display choices have already drawn videogames into the discursive construction of the history of art. Therefore, contextualizing past exhibitions of videogames and examining curatorial practices is a vital part of shaping an interdisciplinary history of videogames. This paper summarizes my research and practical work in games curation within this context through a case study of The Blank Arcade 2016,specifically focusing on unexpected ways spectatorship and interaction coexist in videogame exhibitions. By reviewing the process of exhibition organization and the resulting visitor feedback, and finding intersections in game studies and contemporary art perspectives on tensions between spectatorship and interaction, I reflect on the effectiveness of the present curatorial process at addressing the varied ways gallery visitors experience videogames as an art object or aesthetic experience.

scholarly journals On the problem of the meaning and scope of the term school in contemporary art history (by the case of the Far Eastern region)

2021 ◽  
pp. 270-275
Author(s):  
Н.А. Левданская
Keyword(s):  
Art Education ◽  
Contemporary Art ◽  
Art History ◽  
Far East ◽  
Eastern Region ◽  
Long Period ◽  
The Far East ◽  
History Of ◽  
Style Preferences ◽  
Far Eastern

Редкое исследование, посвященное современному художественному процессу, его участникам, обходится без употребления термина «школа». При этом его содержание трактуется очень широко: от сложившейся и действующей на протяжении большого отрезка времени системы полного цикла профессионального художественного образования до принадлежности художников одной территории или следования за лидером в выборе стилевых предпочтений. В статье дается краткий очерк истории появления и бытования термина «школа», предлагается уточнение его содержания в современных условиях и на этой основе предпринимается попытка оценить ситуацию с формированием региональных школ в России на примере Дальнего Востока. A rare study devoted to the contemporary art process, its participants, dispenses with the use of the term "school". At the same time, its content is interpreted very broadly: from the system of a full cycle of professional art education that has been established and has been operating for a long period of time to artists belonging to the same territory or following the leader in choosing style preferences. The article gives a brief outline of the history of the emergence and existence of the term "school", suggests clarifying its content in modern conditions and on this basis attempts to assess the situation with the formation of regional schools in Russia, using the example of the Far East.

Conclusion

2019 ◽  
pp. 302-306
Author(s):  
Lydia L. Moland
Keyword(s):  
Contemporary Art ◽  
Aesthetic Experience ◽  
Philosophy Of Art ◽  
Aesthetic Theory ◽  
Aesthetic Pleasure ◽  
The World

Hegel’s wide-ranging philosophy of art allows us both to assess the expression of different worldviews in art and the ways in which individual arts—architecture, sculpture, painting, music, and poetry—allow us to sense ourselves and become aware of the world around us. His aesthetic theory elucidates crucial components of philosophical idealism generally, and his description of how art gives us joy illuminates modern aesthetic experience as well. This chapter connects Hegel’s “aesthetics of truth,” and so his idealism, to a description of aesthetic pleasure, then briefly speculates on how Hegel’s theory of art can be applied and extended to our experiences of contemporary art today.

Public sphere of contemporary art: in search of a new approach in art history

2020 ◽  
Vol 25 (4) ◽  
pp. 74-81
Author(s):  
Jianhou Ling
Keyword(s):  
Public Sphere ◽  
Contemporary Art ◽  
Theoretical Approach ◽  
Art History ◽  
Research Practice ◽  
New Approach ◽  
Traditional Approaches

The article substantiates a new theoretical approach to the study of contemporary art associated with the use of the concept of "public sphere of art", reveals the connection between the concept of "public sphere of art" and traditional approaches in art history, the content of this concept and the possibility of its application in research practice.

Art Narratives and Globalization

2011 ◽  
Vol 56 (2) ◽  
pp. 135-144
Author(s):  
Patricia Esquivel
Keyword(s):  
Contemporary Art ◽  
Art World ◽  
The West ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
End Of Art ◽  
Arthur Danto

Arthur Danto proklamierte das »Ende der Kunst«, d. h. das Ende der auf ein Narrativ und auf eine unidirektionale Grundlage basierenden Kunstgeschichte. In der zeitgenössischen Kunstwelt und besonders in der Historiographie hingegen findet man durchaus ein Telos. Dieses Telos ist die Globalisierung. Es gibt heute ein sich ausbreitendes unidirektionales Narrativ, dessen Regel als »Netzwerklegitimation« erklärt werden kann. Ein Netzwerk, dessen Ausmaß (mehr Regionen der Welt), Sättigung (mehr Objekte) und Historizität (umfassendere Entwicklungsketten) zunehmen. Das Netzwerk hat auch einen Mittelpunkt, den Westen, wenn auch nicht für immer.<br><br>Arthur Danto proclaimed the »end of art«, that is, the end of the history of art structured on a narrative and unidirectional basis. But in contrast to Danto’s ideas, we detect a telos in the contemporary art world, especially in historiography. This telos is globalisation. At present, we have a clearly expansive unidirectional narrative in which the norm can be summed up as »network legitimation.« A network that is growing in extent (more regions of the world), saturation (more objects) and historicity ( further-ranging chains of development). The network also has a centre, the West, although it may not last forever.

Coleridge's Contemplative Philosophy

2020 ◽  
Author(s):  
Peter Cheyne
Keyword(s):  
Aesthetic Experience ◽  
Formal Logic ◽  
History Of Philosophy ◽  
Sense Data ◽  
Critical Engagement ◽  
Theory Of Ideas ◽  
History Of

‘PHILOSOPHY, or the doctrine and discipline of ideas’ as S. T. Coleridge understood it, is the theme of this book. It considers the most vital and mature vein of Coleridge’s prose writings to be ‘the contemplation of ideas objectively, as existing powers’. A theory of ideas emerges in critical engagement with thinkers including Plato, Plotinus, Böhme, Kant, and Schelling. A commitment to the transcendence of reason, central to what Coleridge calls ‘the spiritual platonic old England’, distinguishes him from his German contemporaries. This book pursues a theory of contemplation that draws from Coleridge’s theories of imagination and the ‘Ideas of Reason’ in his published texts and extensively from his thoughts as they developed throughout published works, fragments, letters, and notebooks. He posited a hierarchy of cognition from basic sense intuition to the apprehension of scientific, ethical, and theological ideas. The structure of the book follows this thesis, beginning with sense data, moving upwards into aesthetic experience, imagination, and reason, with final chapters on formal logic and poetry that constellate the contemplation of ideas. Coleridge’s Contemplative Philosophy is not just a work of history of philosophy; it addresses a figure whose thinking is of continuing interest, arguing that contemplation of ideas and values has consequences for everyday morality and aesthetics, as well as metaphysics. The book also illuminates Coleridge’s prose by analysis of his poetry, notably the ‘Limbo’ sequence. The volume will be of interest to philosophers, intellectual historians, scholars of religion, and of literature.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

scholarly journals A LOST NAME IN THE HISTORY OF TURKISH ART: ARİF DİNO

2021 ◽  
Vol 11 (2) ◽  
pp. 454-475
Author(s):  
Ebru Nalan SÜLÜN
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
Artistic Style ◽  
Republican Period ◽  
Culture History ◽  
Creative Personality ◽  
Art And Culture ◽  
History Of ◽  
Early Republican

Arif Dino is one of the important figures in the contemporary art and culture history in Turkey. His is the brother of Abidin Dino who is one of the important artists of Turkish Contemporary art history. Playing a major role in the development of Abidin Dino's artistic style. Arif Dino is a figure who contributed to culture and arts scene of Turkey with his paintings in addition to his passion for sports, his designs, poetry, and articles of art criticism. This study is carried out in order to create a literature on Arif Dino, who was not involved in exhibitions and in research as much as his brother Abidin Dino, and in order to examine the artistic interaction between him and Abidin Dino. Arif Dino is an artist known for his versatile, unique and creative personality. In addition to his personality as a poet and a sportsman, he also produced works as exhibition stand and book cover designer in the Early Republican Period of Turkey. In this context, Arif Dino's artistry and works as well as his artistic ties with Abidin Dino will be analyzed.

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