Art in its Time: Theories and Practices of Modern Aesthetics

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CONTENTS List of illustrations ix Preface xi 1 Introduction 1 2 Some masks of modernism 9 3 Art and money 24 4 Beautiful and sublime 46 5 The rationalization of art 74 6 Mechanical reproduction in the age of art 87 7 Pork and porcelain 106 8 The aesthetics of anti-aesthetics 119 9 The Andy Warhol of philosophy and the philosophy of Andy Warhol 134 10 The avant-garde in fashion 152 11 Classless taste 174 Index 183 vii
Page 2: ART IN ITS TIME Art writing normall
Page 5 and 6: 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
Page 61 and 62:
BEAUTIFUL AND SUBLIME passage from
Page 63 and 64:
is connected with and heightened by
Page 65 and 66:
BEAUTIFUL AND SUBLIME means establi
Page 67 and 68:
BEAUTIFUL AND SUBLIME poetry lies e
Page 69 and 70:
BEAUTIFUL AND SUBLIME scene need no
Page 71 and 72:
BEAUTIFUL AND SUBLIME draught anima
Page 73 and 74:
BEAUTIFUL AND SUBLIME sublime and t
Page 75 and 76:
BEAUTIFUL AND SUBLIME sublime. In p
Page 77 and 78:
BEAUTIFUL AND SUBLIME the city, but
Page 79 and 80:
BEAUTIFUL AND SUBLIME inspire love,
Page 81 and 82:
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
Page 89 and 90:
culture. Baudelaire’s celebration
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THE RATIONALIZATION OF ART of forma
Page 93 and 94:
THE RATIONALIZATION OF ART On the o
Page 95 and 96:
THE RATIONALIZATION OF ART clear re
Page 97 and 98:
THE RATIONALIZATION OF ART with sur
Page 99 and 100:
THE RATIONALIZATION OF ART theorist
Page 101 and 102:
MECHANICAL REPRODUCTION with the in
Page 103 and 104:
MECHANICAL REPRODUCTION Copies and
Page 105 and 106:
MECHANICAL REPRODUCTION describe mu
Page 107 and 108:
MECHANICAL REPRODUCTION explains, h
Page 109 and 110:
MECHANICAL REPRODUCTION magical, bi
Page 111 and 112:
MECHANICAL REPRODUCTION setting int
Page 113 and 114:
MECHANICAL REPRODUCTION photography
Page 115 and 116:
MECHANICAL REPRODUCTION Art and mon
Page 117 and 118:
MECHANICAL REPRODUCTION Already in
Page 119 and 120:
7 PORK AND PORCELAIN Art Art, as un
Page 121 and 122:
PORK AND PORCELAIN luxury commodity
Page 123 and 124:
PORK AND PORCELAIN in this way unli
Page 125 and 126:
PORK AND PORCELAIN of the principle
Page 127 and 128:
PORK AND PORCELAIN general practice
Page 129 and 130:
PORK AND PORCELAIN Business culture
Page 131 and 132:
PORK AND PORCELAIN society’s domi
Page 133 and 134:
THE AESTHETICS OF ANTI-AESTHETICS h
Page 135 and 136:
THE AESTHETICS OF ANTI-AESTHETICS v
Page 137 and 138:
THE AESTHETICS OF ANTI-AESTHETICS T
Page 139 and 140:
THE AESTHETICS OF ANTI-AESTHETICS f
Page 141 and 142:
THE AESTHETICS OF ANTI-AESTHETICS A
Page 143 and 144:
THE AESTHETICS OF ANTI-AESTHETICS T
Page 145 and 146:
THE AESTHETICS OF ANTI-AESTHETICS b
Page 147 and 148:
It is only shallow people who do no
Page 149 and 150:
THE PHILOSOPHY OF ANDY WARHOL While
Page 151 and 152:
THE PHILOSOPHY OF ANDY WARHOL The s
Page 153 and 154:
THE PHILOSOPHY OF ANDY WARHOL time
Page 155 and 156:
THE PHILOSOPHY OF ANDY WARHOL to ae
Page 157 and 158:
THE PHILOSOPHY OF ANDY WARHOL light
Page 159 and 160:
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
Page 185 and 186:
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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