Art in its Time: Theories and Practices of Modern Aesthetics

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For Ilse Mattick with love <strong>and</strong> admiration <strong>and</strong> for three friends who should be remembered Serge Bricianer Louis Evrard Gherasim Luca
Page 2: ART IN ITS TIME Art writing normall
Page 5: First published 2003 by Routledge 1
Page 10: ILLUSTRATIONS 2.1 Pablo Picasso, De
Page 13 and 14: PREFACE versions of the essays coll
Page 15 and 16: INTRODUCTION Art, in the first plac
Page 17 and 18: INTRODUCTION aesthetic ideology aga
Page 19 and 20: INTRODUCTION of harmony” and made
Page 21 and 22: INTRODUCTION its maker into the pub
Page 23 and 24: SOME MASKS OF MODERNISM We might as
Page 25 and 26: SOME MASKS OF MODERNISM status clai
Page 27 and 28: SOME MASKS OF MODERNISM even today.
Page 29 and 30: addition to born-again religion and
Page 31 and 32: where genitals are exposed neoclass
Page 33 and 34: SOME MASKS OF MODERNISM seventeenth
Page 35 and 36: SOME MASKS OF MODERNISM objects acq
Page 37 and 38: 3 ART AND MONEY The set of social p
Page 39 and 40: ART AND MONEY Greeks. 6 Nineteen ye
Page 41 and 42: ART AND MONEY human history (and in
Page 43 and 44: ART AND MONEY all a man’s expense
Page 45 and 46: ART AND MONEY Luxury and the fine a
Page 47 and 48: ART AND MONEY tax farming will lead
Page 49 and 50: ART AND MONEY exhibit all the minut
Page 51 and 52: ART AND MONEY charm of his images,
Page 53 and 54: ART AND MONEY noncommercial charact
Page 55 and 56: ART AND MONEY having, we might say,
Page 57 and 58:
If art is to be the instrument of h
Page 59 and 60:
4 BEAUTIFUL AND SUBLIME Ancient wri
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BEAUTIFUL AND SUBLIME passage from
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is connected with and heightened by
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BEAUTIFUL AND SUBLIME means establi
Page 67 and 68:
BEAUTIFUL AND SUBLIME poetry lies e
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BEAUTIFUL AND SUBLIME scene need no
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BEAUTIFUL AND SUBLIME draught anima
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BEAUTIFUL AND SUBLIME sublime and t
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BEAUTIFUL AND SUBLIME sublime. In p
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BEAUTIFUL AND SUBLIME the city, but
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BEAUTIFUL AND SUBLIME inspire love,
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BEAUTIFUL AND SUBLIME year. 72 A re
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BEAUTIFUL AND SUBLIME female sublim
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BEAUTIFUL AND SUBLIME art . . . not
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5 THE RATIONALIZATION OF ART “We
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culture. Baudelaire’s celebration
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THE RATIONALIZATION OF ART of forma
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THE RATIONALIZATION OF ART On the o
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THE RATIONALIZATION OF ART clear re
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THE RATIONALIZATION OF ART with sur
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THE RATIONALIZATION OF ART theorist
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MECHANICAL REPRODUCTION with the in
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MECHANICAL REPRODUCTION Copies and
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MECHANICAL REPRODUCTION describe mu
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MECHANICAL REPRODUCTION explains, h
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MECHANICAL REPRODUCTION magical, bi
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MECHANICAL REPRODUCTION setting int
Page 113 and 114:
MECHANICAL REPRODUCTION photography
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MECHANICAL REPRODUCTION Art and mon
Page 117 and 118:
MECHANICAL REPRODUCTION Already in
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7 PORK AND PORCELAIN Art Art, as un
Page 121 and 122:
PORK AND PORCELAIN luxury commodity
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PORK AND PORCELAIN in this way unli
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PORK AND PORCELAIN of the principle
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PORK AND PORCELAIN general practice
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PORK AND PORCELAIN Business culture
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PORK AND PORCELAIN society’s domi
Page 133 and 134:
THE AESTHETICS OF ANTI-AESTHETICS h
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THE AESTHETICS OF ANTI-AESTHETICS v
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THE AESTHETICS OF ANTI-AESTHETICS T
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THE AESTHETICS OF ANTI-AESTHETICS f
Page 141 and 142:
THE AESTHETICS OF ANTI-AESTHETICS A
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THE AESTHETICS OF ANTI-AESTHETICS T
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THE AESTHETICS OF ANTI-AESTHETICS b
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It is only shallow people who do no
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THE PHILOSOPHY OF ANDY WARHOL While
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THE PHILOSOPHY OF ANDY WARHOL The s
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THE PHILOSOPHY OF ANDY WARHOL time
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THE PHILOSOPHY OF ANDY WARHOL to ae
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THE PHILOSOPHY OF ANDY WARHOL light
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THE PHILOSOPHY OF ANDY WARHOL Figur
Page 161 and 162:
THE PHILOSOPHY OF ANDY WARHOL for (
Page 163 and 164:
THE PHILOSOPHY OF ANDY WARHOL he ac
Page 165 and 166:
10 THE AVANT-GARDE IN FASHION The M
Page 167 and 168:
THE AVANT-GARDE IN FASHION Just as
Page 169 and 170:
THE AVANT-GARDE IN FASHION celebrat
Page 171 and 172:
THE AVANT-GARDE IN FASHION on canva
Page 173 and 174:
THE AVANT-GARDE IN FASHION But what
Page 175 and 176:
THE AVANT-GARDE IN FASHION the mass
Page 177 and 178:
THE AVANT-GARDE IN FASHION Life pan
Page 179 and 180:
THE AVANT-GARDE IN FASHION The anal
Page 181 and 182:
THE AVANT-GARDE IN FASHION In an es
Page 183 and 184:
THE AVANT-GARDE IN FASHION constrai
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THE AVANT-GARDE IN FASHION Clark hi
Page 187 and 188:
11 CLASSLESS TASTE In memoriam Pier
Page 189 and 190:
CLASSLESS TASTE as a distinctive si
Page 191 and 192:
CLASSLESS TASTE For this reason, Bo
Page 193 and 194:
CLASSLESS TASTE future renewal of r
Page 195 and 196:
CLASSLESS TASTE world. Alexander Do
Page 197 and 198:
Eagleton, Terry 3 Eberlein, K. K. 9
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Art in its Time: Theories and Practices of Modern Aesthetics

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