Aisthesis: Scenes from the Aesthetic Regime of Art

Aisthesis: Scenes from the Aesthetic Regime of Art

Language: English

Pages: 304

ISBN: 1781680892

Format: PDF / Kindle (mobi) / ePub

Composed in a series of scenes, Aisthesis–Rancière’s definitive statement on the aesthetic–takes its reader from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarmé to the Folies-Bergère, attend a lecture by Emerson, visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Rancière uses these sites and events—some famous, others forgotten—to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the specificities of the different arts, as well as the borders that separated them from ordinary experience. This incisive study provides a history of artistic modernity far removed from the conventional postures of modernism.

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repelled: capitalism, no doubt, but capitalism in its most dangerous version – the sons and daughters of peasants who learned to read and write and got it into their heads in turn to like pretty things, and to include art in the décor of their lives. If it was necessary to hope for the advent of socialism for the redemption of culture, artists and intellectuals aware of the law of capitalism had first to work to close the border dividing serious art, focused on its own materials and procedures,

Kandinsky, Wassily Kant, Immanuel: aesthetic judgment on beauty Critique of the Power of Judgment Käsebier, Gertrude Keaton, Buster The Kid (Chaplin) Kino-journal kitsch Kleist, Heinrich von Laban, Rudolf labor, division of Laborde, Léon de language of cinema of sounds See also expression; naming; speech; words Laocoön (statue) The Last Man Le Brun, Charles Le Corbusier Leaves of Grass (Whitman) Lectures on Aesthetics (Hegel) Léger, Fernand Legrand, Paul Leonardo da

contributing editors of L’Artiste began to develop this alliance between the freedom of art and the equality of subjects that makes genre painting the true historical painting. In the vibrations of the coloured surface it expressed the larger and deeper history of mores, the chronicle of ordinary people and everyday life that followed the hollow grandeurs of yesteryear. Nonetheless, this art would not be the art of the Second Republic in 1848. Instead, Joseph Chenavard was ordered to decorate the

Poetry exists in poems only if it already exists latently in forms of life. It exists in the ‘pre-cantations’ offered by forms of nature: sea, mountainous peak, Niagara, or any bed of flowers whose attuned ear hears and understands the poem and tries to put it into words;8 in the rhymes presented by the knottiness of seashells, the savage ode of the tempest and the epic song of summer and harvests, but just as well in the blade of grass or the drop of water which is ‘a little ocean’,9 the meat on

they symbolize is their potential for deployment and flight. This symbolic potential is thus no different from the potential used. Movement presents itself in every movement. The symbol, originally, is the part detached from the whole, representing the whole. But the movement of veils is not a part of movement: it is its potential at work. This is the equivalence between the ‘elemental’ language of forms and the apparent display of things that Mallarmé sought to ‘repatriate’ into the writing of

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