scholarly journals Između proizvoda i dela: estetski fetišizam i finansijalizacija umetnosti

2019 ◽  
pp. 86-99
Author(s):  
Marko Đorđević
Keyword(s):  
Contemporary Art ◽  
Work Of Art ◽  
Aesthetic Evaluation ◽  
Artistic Production ◽  
Works Of Art ◽  
Fictitious Capital ◽  
Contemporary Work ◽  
Ideological Transformation

This paper focuses on the ideological transformation of modernistic aesthetic fetishism into what Professor Rastko Močnik has termed “aesthetic imperialism” in contemporary art. Our hypothesis is that this transformation is an effect of the overdetermination of artistic production to fictitious capital. In order to examine this hypothesis, we shall explore the transformation of the simple, modernist work of art into the twofold, contemporary work of art (which must first be a claim to aesthetic evaluation and only then a work of art). We do not suggest that modernism did not know the term “artwork,” as applying to those art products that were not recognized as works of art, but rather that there was a change in the very process of aesthetic evaluation. We believe that, unlike the unitary modernist recognition of products as works by the institution of art, there is twofold recognition in the contemporary age. Here the claim to aesthetic evaluation is allowed to every product, but confirmed only to those that successfully reproduce the ruling “aesthetic imperialism.” Even though ideologists of contemporary art present this change as a result of progressivism that is inherent to the institution of art, we would like to argue that it is an effect of the abovementioned overdetermination of artistic production by fictitious capital, that is, its effects in aesthetic and legal fetishism. This hypothesis will be examined in two relatively autonomous instances: economic and ideological (artistic).

scholarly journals Movements and Remediation: Lack of Site-Specificity in Modern ArtWorks

2020 ◽  
Author(s):  
Kristina Okhvat
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Site Specificity ◽  
Work Of Art ◽  
Works Of Art ◽  
Contemporary Artists

The article analyzes the works of contemporary art, taking into account the features of their functioning. The main goal is to determine what changes have taken place in the basis of a work of art, which allows us to designate this object as an object of contemporary art. The results obtained lead to the conclusion that one of the features of a work of art is the lack of site-specificity. The specificity of the site is the affiliation of the work to a specific place and time: when the affiliation changes, the relations of the object, context and viewer also change. The level of site-specificity of works of art relates to their cultural circulation. Works of modern art are the result of a strategy of figurative saturation defined by a series of constant movements and remediation. The works of contemporary artists are marked with the transition from individual or serial discrete objects to manipulating populations of images using various methods of selection and "reframing”. Keywords: work of art, contemporary art, site-specificity, remediation, figurative saturation

scholarly journals Hvad er mesterværker? Kunsten som genforhandling af virkeligheden

2006 ◽  
Author(s):  
Laura Luise Schultz
Keyword(s):  
Everyday Life ◽  
20Th Century ◽  
Contemporary Art ◽  
Cultural Context ◽  
Gertrude Stein ◽  
Body Art ◽  
Work Of Art ◽  
Works Of Art ◽  
Art Forms ◽  
Or Practice

This article discusses how the idea of a national list of canonical works of art is at odds with performative strategies in contemporary art as they have developed since the early avantgardes first began to mix art and everyday life. From the middle of the 20th century, performative art forms such as happening, body art and all sorts of peformance art and theatre, challenged the notion of the work of art in favor of a concept of art as event or practice. Through the work of American modernist poet Gertrude Stein, and especially her deconstruction of the concepts of masterpieces and genius, the article explores how the performative turn has changed the way art is inscribed in a larger cultural context and history: Significant works of art no longer claim their right to glory through their monumental permanence and significance, but through their ability to change: to relate to shifting perspectives on an ever-changing reality.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

Copyright & Art

2005 ◽  
Vol 6 (12) ◽  
pp. 1762-1776
Author(s):  
Eberhard Ortland ◽  
Reinold Schmücker
Keyword(s):  
Conceptual Structure ◽  
Artistic Production ◽  
Works Of Art ◽  
The Impact ◽  
Aesthetic Concepts ◽  
Neighbouring Rights

What is the impact of copyright(and neighbouring rights)on art— on the conditions for artistic production as well as on other art-related practices in modern societies like trading, conserving, exhibiting, performing, reproducing and distributing works of art or reproductions thereof in various media? And what is the particular relevance of art (and of aesthetic concepts, or theories of art) for copyright? Why should the dogmatics of copyright be concerned with aesthetics at all, and what function do aesthetic concepts fulfil in the conceptual structure of copyright and in the context of its legitimization?

Contemporary Art: The Generative Role of Play

1959 ◽  
Vol 21 (2) ◽  
pp. 389-401
Author(s):  
James Johnson Sweeney
Keyword(s):  
Contemporary Art ◽  
Physical World ◽  
Work Of Art ◽  
Looking Glass

AllOfUs who have considered the problem of enjoying contemporary art are aware that the most serious barriers to it are the reluctance on the part of many painters and sculptors to put aside the notion that a work of art must mirror the physical world about us and their unwillingness to accept the fact that all true art must go “through the looking glass” — that is beyond the mirror.

scholarly journals Cyclops CAmeo: Reactions of four 14- and 15-year-olds to their encounter with a contemporary work of art

1970 ◽  
pp. 173
Author(s):  
Helene Illeris
Keyword(s):  
Research Project ◽  
Work Of Art ◽  
Contemporary Work ◽  
Danish School ◽  
Educational Studies

«The Contemporary Work of Art as an Experiential Model for Pictorial Work in the Higher Grades of the Danish Folkeskole» is the working title for a research project carried out by the author at the Royal Danish School of Educational Studies in Copenhagen. The project covers: The reactions and strategies of 14- and 15-year-old- students in direct encounters with works ofcontemporary art, and how students are able (or unable) to use their experience of the encounter in their own pictorial work back in their school art classes. 

Genre and content in mid-century Verdi: ‘Addio, del passato’ (La traviata, Act III)

1989 ◽  
Vol 1 (3) ◽  
pp. 249-276 ◽  
Author(s):  
James A. Hepokoski
Keyword(s):  
Important Work ◽  
Work Of Art ◽  
Standard Practice ◽  
Artistic Production ◽  
Italian Opera ◽  
Structural Types ◽  
Historical Progress ◽  
Theodor Adorno ◽  
La Traviata

In the attempt to construct the ‘story’ of post-Rossinian Italian opera it has been standard practice to identify as the central plot the dissolution of traditional structural types and genres. The charting of those musical ‘facts’ that illustrate this dissolution is a familiar musicological endeavour, and there remains a persistent temptation not merely to notice the ever-weakening pull of convention but also to identify it with the notion of ‘historical progress’: a move towards the mature virtues of dramatic complexity, idiosyncrasy and flexibility. Considerations of established conventions and their modifications tend to encourage anti-generic evaluative positions, judgements which are then bolstered by appealing to influential aesthetic systems. Thus Benedetto Croce: ‘Every true work of art has violated some established kind and upset the ideas of the critics’. Or Theodor Adorno: ‘Actually, there may never have been an important work that corresponded to its genre in all respects’. Or Hans Robert Jauss: ‘The more stereotypically a text repeats the generic, the more inferior is its artistic character and its degree of historicity […]. A masterwork is definable in terms of an alteration of the horizon of the genre that is as unexpected as it is enriching’? So bewitching is this image of genre dissolution that artistic production is often assessed by the degree to which it rebels against the idées reçues of tradition or encourages the momentum of the ‘historically inevitable’.

Introduction: almost nothing

2017 ◽  
Author(s):  
Anna Dezeuze
Keyword(s):  
Contemporary Art ◽  
Human Condition ◽  
Work Of Art ◽  
Art Object ◽  
New Perspective ◽  
The 1960S ◽  
Definition Of ◽  
The Human Condition

This introduction introduces the term ‘precariousness’ by contrasting it with the ‘ephemeral’. Precarious practices that explore the ‘almost nothing’ are situated in the context of studies of ‘nothingness’ and empty exhibitions in contemporary art. Such debates focus on the ‘dematerialisation’ of the art object since the 1960s, which will be addressed from a new perspective following Lawrence Alloway’s 1969 definition of ‘an expanding and disappearing’ work of art. Re-readings of the materiality of contemporary art since the 1960s are related to continental debates concerning ‘precarity’ in the 1990s, and traced back to Hannah Arendt’s 1958 remarks on The Human Condition. Two different philosophical books — Vladimir Jankélévitch’s 1957 Le Je-ne-sais-quoi et le presque rien, and Simon Critchley’s 1997 Very little, almost nothing — point to some of the questions and methods raised by the study of precarious practices.

The Medieval Image, I

2019 ◽  
pp. 196-223
Author(s):  
Thomas Nail
Keyword(s):  
Middle Ages ◽  
Work Of Art ◽  
Works Of Art ◽  
Aesthetic Field ◽  
The Aesthetic ◽  
The Church ◽  
The Middle Ages

Chapter 10 presents a realist aesthetics (versus constructivist) and a kinetic materialism (versus formal idealism) that focuses on the material kinetic structure of the work of art itself, inclusive of milieu and viewer. What the author calls “kinesthetics” is a return to the works of art themselves as fields of images, affects, and sensations. The chapter more specifically offers a focused study of the material kinetic conditions of the dominant aesthetic field of relation during the Middle Ages. The argument here and in the next chapter is that during the Middle Ages, the aesthetic field is defined by a tensional and relational regime of motion. This idea is supported by looking closely at three major arts of the Middle Ages: glassworks, the church, and distillation. The next chapter likewise considers perspective, the keyboard, and epistolography.

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