Art in its Time: Theories and Practices of Modern Aesthetics

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play 41ff Pocock, J. G. A. 28 n. 16, 29f Poggioli, Renato 166 Pollock, Jackson 71, 120, 152ff Pomian, Kzrysztof 38 n. 53, 39 Pope, Alexander 50 Popova, Liubov 82 postmodernism 23, 127, 133 primitivism 21f, 162 prostitution 15f Quatremère de Quincey, A. C. 102 Quesnay, F. 31 Ratcliff, Carter 105 Rathbone, Perry 111 reading debate 39f, 131 Reynolds, Sir Joshua 27, 35f, 58, 63 n. 55, 67 Robson, A. Deirdre 165, 176 n. 4 Rodchenko, Aleksandr 81ff Romanticism 94, 101 Rosenberg, Harold 129 Rosenquist, James 148f Rothko, Mark: and Adolph Gottlieb 162 Rousseau, Jean-Jacques 30ff, 51ff, 61, 63f Russian Revolution 82, 154, 172 Saisselin, Remy G. 101 n. 56, 103 Schapiro, Meyer 6 n. 11, n. 13, 6, 7, 11, 77, 104, 119, 122, 162, 168, 182 INDEX 185 Schiller, Friedrich 40, 43f, 70f, 72 Schulte-Sasse, Jochen 40 n. 57 Simmel, Georg 164f Stepanova, Varvara 83 sublime 42f, 47ff Tarabukin, Nikolai 84 taste 109, 174ff Tatarkiewicz, Wladislaw 48 n. 5 Taylorism 77, 79f, 85 n. 37 Teige, Karel 83 n. 31, 181 Tillim, Sidney 89, 93, 116f Toffler, Alvin 113 n. 15, n. 16, 117, 161 n. 22, 176 n. 3 Vasari, Giorgio 25ff Vesnin, Alexander 83 Vitruvius 46 Voltaire 28, 31 wage labor 41, 43 Wallach, Alan 108 Warhol, Andy 25, 86, 118, 120, 130f Weinstock, Clarence 156, 170 Williams, Raymond 4f, 9, 75 Winckelmann, J. J. 25f, 36, 40, 99 Wollstonecraft, Mary 65ff women: and social disorder 21, 32, 60f, 65 Worth, Charles Fréderic 167 Wright, Joseph 56f
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ART IN ITS TIME Art writing normall
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First published 2003 by Routledge 1
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CONTENTS List of illustrations ix P
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PREFACE In writing this book I have
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1 INTRODUCTION The ten chapters tha
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INTRODUCTION ideology, as I am atte
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INTRODUCTION process as practically
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INTRODUCTION articulation of nonver
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2 SOME MASKS OF MODERNISM The days
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SOME MASKS OF MODERNISM which it di
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SOME MASKS OF MODERNISM chaotic mov
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SOME MASKS OF MODERNISM the faces o
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SOME MASKS OF MODERNISM Figure 2.2
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SOME MASKS OF MODERNISM Figure 2.3
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SOME MASKS OF MODERNISM private str
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SOME MASKS OF MODERNISM the artist
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ART AND MONEY action taken to turn
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ART AND MONEY Diderot’s version o
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ART AND MONEY Luxury and corruption
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ART AND MONEY financed not only by
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ART AND MONEY of Plato with whom th
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ART AND MONEY When a handful of spe
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ART AND MONEY might confuse the hon
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ART AND MONEY complaint about the r
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ART AND MONEY comparison with Kant
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ART AND MONEY experience of the bea
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ART AND MONEY worthy inheritors of
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BEAUTIFUL AND SUBLIME It is, we mus
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BEAUTIFUL AND SUBLIME strength. Cri
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BEAUTIFUL AND SUBLIME In Rousseau
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BEAUTIFUL AND SUBLIME two centuries
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BEAUTIFUL AND SUBLIME exemplified b
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BEAUTIFUL AND SUBLIME Figure 4.1 Jo
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BEAUTIFUL AND SUBLIME “beautiful
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BEAUTIFUL AND SUBLIME and political
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BEAUTIFUL AND SUBLIME The paintings
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BEAUTIFUL AND SUBLIME In this pictu
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world will be long in freeing itsel
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69 Figure 4.2 Eugène Delacroix, De
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BEAUTIFUL AND SUBLIME always has a
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the sublime and the beautiful—cal
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THE RATIONALIZATION OF ART “Spiri
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THE RATIONALIZATION OF ART als, wit
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THE RATIONALIZATION OF ART The dist
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THE RATIONALIZATION OF ART members
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THE RATIONALIZATION OF ART image, e
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THE RATIONALIZATION OF ART which de
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6 MECHANICAL REPRODUCTION IN THE AG
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MECHANICAL REPRODUCTION Almost none
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MECHANICAL REPRODUCTION models were
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MECHANICAL REPRODUCTION But we are
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MECHANICAL REPRODUCTION They repres
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MECHANICAL REPRODUCTION have alread
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MECHANICAL REPRODUCTION And they pr
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MECHANICAL REPRODUCTION It is evide
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MECHANICAL REPRODUCTION order of be
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MECHANICAL REPRODUCTION triumph as
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PORK AND PORCELAIN extent not only
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PORK AND PORCELAIN support of the B
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PORK AND PORCELAIN for the distinct
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PORK AND PORCELAIN of the very rich
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PORK AND PORCELAIN ment censorship
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PORK AND PORCELAIN private foundati
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8 THE AESTHETICS OF ANTI-AESTHETICS
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THE AESTHETICS OF ANTI-AESTHETICS o
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THE AESTHETICS OF ANTI-AESTHETICS
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THE AESTHETICS OF ANTI-AESTHETICS p
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THE AESTHETICS OF ANTI-AESTHETICS p
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THE AESTHETICS OF ANTI-AESTHETICS O
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THE AESTHETICS OF ANTI-AESTHETICS r
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THE AESTHETICS OF ANTI-AESTHETICS C
Page 148 and 149: THE PHILOSOPHY OF ANDY WARHOL Warho
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Page 152 and 153: THE PHILOSOPHY OF ANDY WARHOL print
Page 154 and 155: THE PHILOSOPHY OF ANDY WARHOL and E
Page 156 and 157: THE PHILOSOPHY OF ANDY WARHOL 1989
Page 158 and 159: THE PHILOSOPHY OF ANDY WARHOL found
Page 160 and 161: THE PHILOSOPHY OF ANDY WARHOL ident
Page 162 and 163: Buchloh sees the political limitati
Page 164 and 165: THE PHILOSOPHY OF ANDY WARHOL conte
Page 166 and 167: THE AVANT-GARDE IN FASHION Figure 1
Page 168 and 169: THE AVANT-GARDE IN FASHION recast a
Page 172 and 173: Such a view is more plausible in re
Page 174 and 175: THE AVANT-GARDE IN FASHION “strip
Page 178 and 179: THE AVANT-GARDE IN FASHION the unif
Page 180 and 181: THE AVANT-GARDE IN FASHION long con
Page 182 and 183: THE AVANT-GARDE IN FASHION had its
Page 184 and 185: THE AVANT-GARDE IN FASHION wrong. A
Page 186 and 187: THE AVANT-GARDE IN FASHION One can
Page 188 and 189: CLASSLESS TASTE home or being aroun
Page 190 and 191: CLASSLESS TASTE Burning call “aca
Page 192 and 193: CLASSLESS TASTE It would be pervers
Page 194 and 195: CLASSLESS TASTE ing, as the boundar
Page 196 and 197: Adams, Abigail 48 Adorno, Theodor 5
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Art in its Time: Theories and Practices of Modern Aesthetics

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