One evening I sat Beauty on my knees; and found her bitter, and I injured her I steeled myself against justice Arthur Rimbaud. A Season in Hell. Once if my memory serves me well 1873 Readings are in studios 2 identical copies left. (pick up extra page for last week, outside lecture theatre
sorry!) Advanced Research Training. Stg 3 students NOT going to Venice Jim Fiddes. Lib Rm 434. Thurs 15th Nov Searching journals, electronic access.. Group 1: 10.45 (Seminar SA46 9.30)
Group 2: 12.00 (Seminar SA46 10.30) Group 3: 9.15 (Seminar SA46 12.00) Direct Entry Students Stgs 2 and 3 Seminar to answer queries on CCS
Wednesday 14th 12.30pm Room 434 Library (up one floor, turn left, furthest corner behind book shelves) To cover: Critical Notebooks, research queries, writing queries, assessment, what is CCS .etc. Venice Fine Art, Extra Sessions Extra Lecture: Monday 26 Nov 1.00pm SB42 Seminar II:
Stge 3 Wed 14 Nov 2.00pm 434 Library Seminar III: Stge 2 Tues 27 Nov 9.30 Rm SA46 Seminar III: Stge 3 Tues 27 Nov 12.00 Rm SA46 Stge 3 Advanced Library Training: Fri 23 Nov 12.30-1.30 Rm 434 Library All other sessions as normal Stage 2 seminars this week and next
Tuesday SA46 9.30, 10.30 and 12.00 Stage 3 Seminars this week and next Thursday SA46 9.30, 10.30 and 12.00 One evening I sat Beauty on my knees; and found her bitter, and I injured her I steeled myself against justice Arthur Rimbaud. A Season in Hell. Once if my memory
serves me well 1873 Elaine Scarry. 1999 On Beauty and being Just. (Princeton University Press) ..for the humanities are made up of beautiful poems, stories, paintings.. films.. conversation about the beauty of these things has been banished.(we) speak about their beauty only in whispers..
anything which alters consciousness in the direction of unselfishness, objectivity and realism is to be connected with virtue(the single best or most) obvious thing in our surroundings, an occasion for unselfing is what is popularly called beauty ( Quoting Iris Murdoch) In the near future, people can arrange things so that there either will or will not be beautiful sky. Do you wish there to be beautiful sky? (p.119-20) L.H.O.O.Q. (She has a hot bum - ?)
Marcel Duchamp. 1919 Art retroactively annihilated that from which it emerged Theodore Adorno (1903-69) Adorno. Aesthetic Theory. 1970 Artworks detach themselves from the empirical world and bring forth another world, one opposed to the other world as if this other world too were an autonomous entity. Thus, however tragic
they appear, artworks tend a priori towards affirmation. The clichs of arts reconciling glow enfolding the world are repugnant not only because they parody the emphatic concept of art with its bourgeois version and class it among those Sunday institutions that provide solace In the face of the abnormality into which reality is developing, arts inescapable affirmative essence has become insufferable. Art must turn against itself, in opposition to its own concept, and thus become
uncertain of itself right into its innermost fibre...By attacking what seemed to be its foundation throughout the whole of its tradition, art has been qualitatively transformed;.......doubtless artworks became artworks only by negating their origin. Arthur C Danto The mistake was to believe that artistic goodness is identical with beauty and that the perception of artistic goodness is the aesthetic perception
of beauty The Abuse of Beauty. P. 35 Beauty, Art & Pleasure. High Renaissance. 15th & 16th C Michelangelo Buonarotti. The Pieta. 1505 Anton Raphael Mengs. Noli Me tangere. 1771
Modern artists ought to have formed their figures of the Saviour conformably to the ideas which the ancients entertained of the beauty of their heroes, and thus made him correspond to the prophetic declaration, which announces him as the most beautiful of the children of
men Winckelmann (1717-68) Study the beautiful only on your knees Jean Auguste-Dominique Ingres (1780-67) Titian. Venus of Urbino. 1537 Ingres. Grande odalisque. It is in nature that one can find this beauty which constitutes
the great object of painting Disinterested pleasure and the free play of the mind connecting art with the aesthetic response Caspar David Friedrich. Wanderer above the mist. 1818. Hamburg A Romantic rebellion? the delight we feel, in the contemplation of the beautiful (arises from the feeling) that our mental
faculties are in free play, they are not impeded or curtailed by the limits of our knowledge, the needs of our physical bodies, or the demands of our consciences Free play of the cognitive facultiesimagination and understanding in harmony with each other, leading to pleasure A unity of the senses and cognition Art as pleasure. The aesthetic and affirmative Turner. Lake Lucerne Moonlight , the Righi in the distance. c1841
Modern Art and Formalist Aesthetics Clive Bell (1881-1964) Roger Fry (1866-1934) Clement Greenberg (1909-94) Clive Bell The Aesthetic Hypothesis 1914
The starting point for all systems of aesthetics must be the personal experience of a peculiar emotion. The objects that provoke this emotion, we call works of art. All sensitive people agree that there is a peculiar emotion provoked by works of art.What quality is shared by all objects that provoke our aesthetic emotions?...... Only one answer seems possible significant form. In each, lines and colours combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions .. it is the business of the artist so to combine and arrange them that they shall move us..To appreciate a work of art we need
bring nothing with us but form Roger Fry. The French Post Impressionists. Vision and Design. 1912 (they) shall appeal to our disinterested and Contemplative imagination The Abuse of Beauty
Arthur C Danto 2003 The Intractable Avant-Garde for art retroactively annihilated that from which it emerged DA DA: We had found in the War that Goethe, Schiller and Beauty added up to killing and bloodshed and murder. Richard Huelsenbeck Benjamin Peret. 1926
Art is everywhere, except with the dealers, in the temples of Art, like God is everywhere, except in the churches. Francis Picabia Tristan Tzara (1896-1963) Dada Manifesto 1918 A work of art should not be beauty in itself, for beauty is dead Is the aim of art to make money and cajole
the nice, nice bourgeoisthe new artist protests, he no longer creates.all pictorial or plastic work is useless: let it then be a monstrosity that frightens servile minds.. Marcel Duchamp. First papers of Surrealism Exhibition. 1942
Barnett Newman(1905-70) The Sublime is Now 1948 The invention of Beauty by the Greeks, that is their postulate of beauty as an ideal, has been the bugbear of European art and European aesthetic philosophies The Impressionists, disgusted with its inadequacy, began the movement to destroy the established rhetoric of beauty by the Impressionist insistence on a surface of ugly
strokes. The impulse of modern art was this desire to destroy beauty. The value of Beautys antithesis the ugly and horrific Is it the quiet shore of contemplation that I set aside for myself, as I lay bare, under the cunning orderly surface of civilizations, the nurturing horror that they attend to pushing aside by purifying, systematizing and thinking? Julia Kristeva. Powers of Horror. 1982
Neo Dada no longer has the hope that it will reform the modern nation by abusing beauty. But perhaps by weakening if not destroying the supposedly internal relationship between art and beauty, it has made it possible for art to address the inhumanities that so revolted the generation after World War 1 Arthur C Danto. The Abuse of Beauty. 2003 Jake and Dinos Chapman Fuckface Twins
The Anti-Aesthetic. Essays on Postmodern Culture. Hal Foster (ed) 1983 The very notion of the aesthetic..is in question here Are categories afforded by the aesthetic still valid? anti-aesthetic also signals a practice, cross-disciplinary in nature, that is sensitive to cultural forms engaged in a politic e.g. feminist art..that is to forms that deny the idea of a privileged aesthetic realm ( Meaning that art should not be within a distinct, elite or
separate realm as implied by Kant ) In the face of a cultural reaction on all sides, a practice of resistance is needed From aesthetics to critique Vanessa Beecroft. Show. 23 April 1998. The Guggenheim. New York Visitors to an exhibition of avant-garde art.wear jeans or designer clothes, wear their hair according to the model of
Beauty offered by glossy magazines, the cinema or television, in other words by the mass media. These people follow the ideals of Beauty as suggested by the world of commercial consumption, the very world that avant-garde artists have been battling against for over 50 years Distinction. A Social Critique of the Judgement of Taste. Pierre Bourdieu. 1984 A Grande Bourgeois: Unique among His Kind ..a lawyer, aged 45, is the son of a lawyer and his family belongs to the Parisian grande bourgeoisie
Their four children are at the best private Catholic secondary schoolsThey live in a big apartment..In the living room, modern furnitureantiquities, a Greek head in stone, authentic and rather beautiful.his father collects all sorts of objets dart several paintings, a Paul Serusier, in the Dining Room, a Dutch still life.. When he buys objets dart its in no way an investment. What counts for him is first of all the beauty of a thing. Im irritated by people who buy things just to show them off, to say theyve got them or put them in a particular place. The value isnt what counts, its the pleasure it gives you
Beauty and Horror in Contemporary Art Hirshhorn Museum 1999 Royal Academy 2000 Beauty and the Beast. Crafts Council 2004
At one end of the spectrum are artists and critics who disparage beauty and aesthetics. From their standpoint, aesthetics are inevitably politicised and thereby an inappropriate avenue for artistic investigation. The opposing, equally large and committed group embrace beauty but pose new challenges for it. Neal Benezra. Assistant Director for Art and Public Programmes. Hirschorn Museum, Smithsonian Institute, Washington. Enter the dragon:
I was drifting, daydreaming really, through the waning moments of a panel discussion on the subject of Whats Happening Now..when I realised I was being addressed..A lanky graduate student had risen to his knees and was soliciting my opinion as to what the issue of the nineties would be. Snatched from my reverie , I said Beauty..The issue of the nineties will be beauty Dave Hickey. The Invisible Dragon: Four Essays on Beauty. 1993 Dave Hickey. Chapter 1.
Enter the Dragon: On the Vernacular of Beauty. 1993 For more than four centuries, the idea of making it beautiful has been the keystone of our cultural vernacular.the single direct route from the image to the individual without a detour through church or stateThe route now detours through an alternate institution..we are being denied any direct appeal to beautyto sustain the jobs of the bureaucrats.The priests of the new church are not so generous. Beauty in their
domain is altogether elsewhere. Grant Kester. The World He Has Lost: Dave Hickeys Beauty Treatment. 2003 Hickey provides the comforting assurance that all those annoying artists during the 1980s and 90s who raised questions about racial privilege and sexual representation, or who challenged the cozy commodification of the gallery system, were really nothing more than mean spirited whiners. As we contemplate a return to the art world Hickey has
lost , we would do well to recall that the beauty he evokes, not unlike the patriotism that surrounds us today, is something to be felt rather than questioned And so, to make beautiful art is to bring art further within the circles of power, class, commerce and consumption; to render it ineffective as critique The Eclipse of Beauty A value wholly associated with past art With suspect bourgeois and middle class values
Providing affirmation and solace; the clichs of arts reconciling glow Insufficient unlike the ugly to provide critique Eclipsed by a new art whose purpose is social and political Complicit, itself in the prevailing power structure We had found in the War that Goethe, Schiller and Beauty added up to killing
and bloodshed and murder. Richard Huelsenbeck c1916 Maya Lin. Vietnam Veterans Memorial Washington D.C. 1982 And I then thought of the role beauty plays in the way we respond to death associating the dead with flowers, reading poetry, listening to the deceaseds favourite
music It is not difficult to see what has happened to beauty in contemporary art. It is not arts business to console. If beauty is perceived as consolatory, then it is morally inconsistent with the indignation appropriate to an accusatory art Beauty is an option for art and not a necessary condition. But it is not an option for life
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