Political-Critical Art and the Aesthetic

CEU eTD Collection In partial partial In

- POLITICAL fulfilment

o f

the requirements for for degree of the requirements the Weberman David Professor Supervisor: CENTRAL EUROPEAN UNIVERSITY EUROPEAN CENTRAL

PHILOSOPHY DEPARTMENT PHILOSOPHY Maria Budapest, Hungary Budapest, CRITICAL ART AND THE ANDTHE ART CRITICAL AESTHETIC - Alina Asavei Alina 2013 By

Doctor of

Philosophyin Philosophy CEU eTD Collection August,Budapest, 2013 noticed otherwise unless institutionsother materialsnot and published and/or previously written in degrees any for other no material accepted contains this dissertation that I declare thereby

Maria by another person person by another - Alina Asavei

CEU eTD Collection be de be social and political usefulness of their art points: phrased “ 7 the around discourses theoretical the instance, For art. engaged politically natural kinds and other works form of art the perceive autonomous and pl , side viewer’s from the and awareness context the a certain implying necessarily abuses of power, justice or of problems art of dimension aesthetic undermines the art and politics of existence critics theorists, the neo the market, art the curator, the are: “enemies” other (the art of political d emphasize curators) associate Fear “Forget entitled Art of Contemporary aesthetic. of the assumed) often (as “the of aesthetics” end question Th on. isstill going debate the definite and is not answer aesthetic art aesthetic individualist production art as opposed to - , Of course emphasized.

This This In words, other man In Therefore anew question. not is “political” or “aesthetic” be should art Whether even if contemporary critical if contemporary even

, and , question. In short In question. dissertation .” i t claims that politically engaged art practice does not signify “the end of art” or or art” of end “the signify not does practice art engaged politically that claims t ycritical studies, aestheticshas become themain enemy of socially

, The old question of whether art sho art whether of question old The

and aestheticians hold that political art is not “ not is art political that hold aestheticians and easurable experience ofa specialkind Some Some art. political aesthetic and be between agap appears to there

claims that there is no dichotomy between “ between dichotomy no is there that claims , this study attempts to

the wayin which aestheticshas been traditionally defined and the aesthetic - political artists and their publics’ main focus is on is focus main publics’ their and artists political ABSTRACT , ,

, but only the end of a certain, narrow understanding understanding narrow certain, a of end the only but this this ” 2012(where Voina

the the (and the aesthetic object) as one of the enemies enemies the of as one object) aesthetic the (and iii does not mean that aesthetic concerns should should aesthetic concerns mean that not does collectivist collectivist

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art art he aesthetic has to do with an an with do to has aesthetic he which happens to us when we ushappens when we to which production). art collective was collective art proper art proper

degree of degree

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liberal elites and and elites liberal

because the co the because Berlin Biennale Biennale Berlin

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CEU eTD Collection 1 connot longer no that representation as (such been reconfigured have concepts certain Furthermore, interestedness). disinterestedness) and contemplation (like weight their lost have concepts Some aesthetic face. interests. atideological import of hands the itsit haslost aesthetic is it, know to because dead “art that argue They others). and Rosenstein Leon Kuspit, Donald Danto, Arthur ( art” of end “the proclaim theorists and art art of philosophers contemporary Many is actually art political - non is art political that mean this Does context. incultural economic, aspatial, pure but situated not is experience beholder’s the because experience of autonomous kind this occasion not it does and in appearance ” “aesthetic and autonomous an affords thus and disinterested), immediate is pleasure the (so called is “aesthetic” natural object) or - object (art and subject object between art. aesth the of adismissal not and art of theory aesthetic a have triggered practice artistic contemporary political contemporary with incompatible immediat (narrowlypurity perception, in of of understood and terms Bishop, ‘The Social Turn: Collaboration of po and Its questions Discontents’, on more focusing and art in of aesthetics turn” questions “social the disregarding means words, criticism other In collaboration”. of models bad or good produce they which to degree “the them artists the and by artists produced pieces art The imply?

According to Claire Bishop, “social turn” in art has prompted “an ethical turn in art criticism 1

As we know, traditional aesthetics is grounded is grounded aesthetics traditional As know, we This dissertation argues This dissertation )

experience ,

hav es es

an aesthetic art if we revise and broaden the concept of the aesthetic. aesthetic. of the concept the broaden and if revise we art aesthetic an to the beholder the to ing “ imitation

been replaced with others (collaboration/participation and and (collaboration/participation others with replaced been

(in a traditional sense) atraditional (in that aesthetics is not dead, but dead, not is aesthetics that ,”

but simulation or re or simulation but .

beholder). beholder). Apparently, contemporary political art is not pl not is art political contemporary Apparently, - critical art critical iv

This d This art? aesthetic In very general lines, something (an artistic artistic (an something lines, general very In selves are judged by theirworking process, thatis: series of important implications for for implications important of series Artforum International i n the traditional metaphysical distinction distinction metaphysical traditional n the etic at the hands of the “social turn” in in turn” “social the of hands the at etic

if it is pleasing in appearance (where (where inifis appearance it pleasing . - enactment). Thus, when politically politically when Thus, enactment). Yet, all these developments in in developments these all Yet,

that

e pleasure and so on) is is on) so and e pleasure it has only changed its its changed only has it , vol. 44, No. 6, 2006 ). 2006 6, No. 44, vol. , issertation litics (see Claire . ” What” does this , ” as we used ” as used we ,

argue and social social and easing easing s

e.g., that

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CEU eTD Collection critical concerns. - de not are aesthetic stake, concerns is art at engaged v

emphasized or replaced by replaced political emphasized or - CEU eTD Collection work. their strengthen to help them which will political art evaluate to tradition critical no is there because of power invisibility ‘outsider’ and collectives margins, art the on artists gratefully would least, Lastnot I but likealland sincerelysupport. friendship to thank the and aesthetics. by the “outsiders” be considered to used that phenomena social and political accommodates that of aesthetics understanding rich asufficiently regarding Aesthetics clopedia of Ency Professor k than warmly to like assistance, and encouragement sixmesupportingyears during past these provided the necessary funds for this research at the City University of York. New City University the for at thisfunds research necessary the provided that Foundation University Central European of the support financial acknowledge the longour and enriching conversatio I’m grateful dissertation. forfrom this drafts earlier reading for and suggestions and guidance I amI grateful Andruska,most Misha to First I also thank thank also I .

Ifit does always not is itwork, becausenot they struggle don’t enough ” , as odd as may seem, seem, may as odd as ,

and foremost, This dissertation is dedicated to them. to isdedicated Thisdissertation Professor

I want to thank my my thank to want I (forthcoming Oxford at University Press)

ACKNOWLEDGMENTS , political artist and critical theorist Gregory theorist critical and artist political , so necessary for me to finish this dissertation. Next, finish dissertation. I this wouldme to for necessary so Michel Kelly for our invaluable conversations on the the on conversations invaluable our for Kelly Michel still can make difference a make can still I would I studio. art College’s Queens the ns at vi

. He patiently provided .

and Dany principal principal

art practitioners whose whose practitioners art

for all their care, love care, their all for

supervisor supervisor David Weberman for

(as fragile as it is) in the balance

and for his insights insights his for and invaluable

various cultural, cultural, various Sholette . It is mostly mostly is It .

“ , kindness, politics of of politics Western Western

advice, advice, like to to like for his his for CEU eTD Collection ENGAGEMENT? CRITICAL 4. BEAUTY AND REALLY ART:CHAPTER IS AT POLITICAL WITH ODDS BEAUTY DISINTERESTEDNESS CHAPTER 3. REVISITING DISINTERESTEDNESS: POLITICAL PO 2. CHAPTER CLARIFICATION A ART: CONCEPTUAL POLITICAL 1. CHAPTER INTRODUCTION 4.1. Narrow Aesthetic Theories of Beauty Aesthetic Theories Narrow 4.1. 3.7. Conclusions in Political Disinterestedness Rethinking 3.6. Political for Suitable any Is there 3.5. Disinterestedness 3.4. Disinterestedness and Engagement: Disinterestedness Beby Ruled“Aesthetic” Cannot Out Interests Cognitive 3.3. Theory? Art and Aesthetics Contemporary for Term anAnyLonger Operational Disinterestedness Is 3.2. After and Century Eighteen the of Light the in Disinterestedness 3.1. 2.5. Conclusions - Political Form: Meaningful Aesthetically 2.4. 2.3. Aesthetic” is Too “This versus “Thisis Political” Art: in too Political and Aesthetic between The the Gap 2.2. The Aesthetic 2.1. 1.3. Conclusions Democracies 1.2. Propaganda vs. Art Political - is What art? 1.1. 1.2.2. Political Regimes Totalitarian in Art Critical Propaganda1.2.1. vs.Art Political in Art? is Political What 1.1.3. Mix? They Should Mix? They Can Politics: and Art 1.1.2. 1.1.1. Is All The Aesthetic and Political The Aesthetic and

...... Art Political? Art LITICAL

...... 1 ......

- ......

...... CriticalArt in Liberal Democracies

......

...... - CRITICAL ART AND THE AESTHETIC

......

...... TABLE OF CONTENTS -

...... Critical Art: Bridging the Gap the Bridging Art: Critical Critical Art: In Totalitarian Regimes and in andLiberal Regimes InArt: Totalitarian Critical

Reflective Contemplation Reflective

...... vii - Critical Art’s Appreciation Art’s Critical

Critical Art as aMatter Art of Form Critical

...... - Critical Art’s Spectator? Art’s Critical

......

...... -

...... CRITICAL ART ANDART CRITICAL

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115 107 130 143 139 137 122 112 103 101 119 21 50 12 86 65 54 48 38 32 24 71 40 45 14

CEU eTD Collection CONCLUSIONS EFFECTIVE? CHAPTER BIBLIOGRAPHY 5. 5.6. Social and Movements Critical Effectiveness Political for Distribution and Means of of the Production The Importance 5.5. Effective? 5.4. Political Is 5.3. Art? Effective Political the Affirming Denying or For Reasons Are What 5.2. Effectiveness?” of Types Different 5.1. 4.5. Conclusions 4.4. Functio 4.3. RevisitingKantian Theory of Beauty: Dependent Political andArt Beauty Dependent Art Political in of Avoidance Contemporary Beauty The Deliberate 4.2...... 7. Conclusions

To Political

......

Whom

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...... nal Beauty: Beauty and Functionin PoliticalArt TH Art’s

......

- Must ...... E Critical Art Most Effective Within an Institutional Setting or Outside of It? or Setting anWithin Institutional MostEffective Art Critical

...... EFFECTIVENESS

Effectiveness: ......

- Political

Critical

Mean?” and “Are There “Are There Mean?” and “Effective” Does “What

- ...... Political Art Political

QUESTION: Art

be viii

Addressed

......

CRITICAL

Order

......

for

ART

...... POLITICALLY ness of Critical Critical of ness

Most - Critical Art’s Art’s Critical

204 199 185 152 186 221 213 210 194 190 182 160 174 189

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Unhealthy Aestheticism - August Dominique Ingres, TheMartyr Symphorien Saint of , 1824, p.95. LIST OF ILLUSTRATIONS

FKSE (Studio ofArtists Association), Budapest. Young - Portrait , 2003

- ix - 2006, p.147. After Marilyn Monroe

, work inwork begun progress, in p.180. 1999, , p.69.,

, gelatine , 2009, p.99. 2009, , silver pr

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CEU eTD Collection be beautiful). to means be aesthetic (to beautiful idea of the with has been identified aesthetic the times different At art. of quality aesthetic paradigmatic the considered been has beauty Stolnitz’s. in than Shaftesbury’s) with identical has to “disinterestedness” but this art political in attending disinterestedness aesthetic of instance certain a preserve to have still we that argue I chapter this In Shelley). (James theses” disinterest of development the of history aesthet of the concept the about thinking recent more of history the “much of because aesthetic the on discussion from the be excluded cannot disinterestedness 20 the to opposed re - extra accommodates 3 2, political art political” ( mean the clarify conceptually to attempts first it end, this To issues. convoluted very clarify these to aims thesis This other. the on and aesthetic, the art and political hand, one the on and politics, art between disagreementsmajor regarding are the relationship there studies in and critical theory in art between relationship the is what and art political what relationship, this approach to how yet clear not is It one. contested is a and politics art between The relationship theory. and critical art of sociology politicalphilosophy, from art, and philosophy of scrutinizingpolitics art of of theories work,

- consider the 18 the consider ). and 4). The The ). At the same time, this research aims to bridge the gap between between bridge gap the to aims research this time, same the At Chapter 1). dissertation and and Chapter 2 the aesthetic th

century understanding of the aesthetic disinterestedness (Sh disinterestedness aesthetic the of understanding century perceptual, political and other contemporary arts. Chapter 3 arts. contemporary other and political perceptual, art th

, - “Political century understan century and the political and argues for an enlargement of the concept of the aesthetic which which aesthetic of the concept of the anfor enlargement argues , in spite of all discontent regarding their encountering ( encountering their regarding discontent all of spite in , ing of “ ing of Critical Art and the Aesthetic” is an interdisciplinary piece piece interdisciplinary an is Aesthetic” the and Art Critical INTRODUCTION ” and the relationship between “ between political art” and relationship the

Shaftesbury’s way Shaftesbury’s in more understood be the aesthetic dingof the term (Stolnitz’s). The topicof 1 Chapter 4

is. In art, philosophy of contemporary

deals with beauty. Traditionally Traditionally beauty. with deals ic seen as be can the aftesbury’s) as as aftesbury’s) art attempts to ” and “ and ”

(but not not (but Chapter Chapter the the CEU eTD Collection http://sensesofcinema.com/2001/13/carroll/ 2 of autonomy the regard inappropriately theories both that grounds the on not”) should they but mix can politics and “art ii. and mix” cannot politics and “art (i. claims autonomist both by them t “art” ofexpanding concept the and “the political” of concept the both is destroys “all political” art that statement the that grounds and the on mix can or should politics and which art to degree the regarding controversy and agreat inart ‘political’ be considered should what of question the concerning is confusion There propaganda. isnot that art political isfrom that propaganda distinguish art political fails to itAnd, sense. aninpolitical overt or of content matter a exclusively not is political art fact that fails the acknowledge to many It on is grounds. problematic content” art’. effectiveness. focuses political 5 art’s on Chapter beautiful. how the object looks. Political art does not needto look pleasingin order to be considered isa mat beauty not because at beauty not engagement is withargue that critical odds Manyfind non theorists politicalart regarding the relation of art and politics is due mostly to viewsis andmostlytwo regarding of the due relation to politics art ‘ what discuss first I aim this everything as political, because it takes the force out of things that undoubtedly are political are undoubtedly that of things out force the it takes because as political, everything ew vi to harmful politically potentially it’s that: grounds the on political” is art “all that not”). should they but mix, can politics and “art or mix” cannot politics and “art claims autonomist two (the in art place take cannot or not should and institutions political in place politics takes holds that which theory the second, is and “all art political” first,

Noël The common sense understanding of political art as “art with a political message and and message a political with “art as art political of understanding sense The common

Carroll, interview with Ray Privett and James Kreul in In the first chapter I attempt to provide a conceptual clarification of the term ‘political ‘political term of the clarification provide aconceptual to attempt I chapter first In the F irstly,

this chapter aims to aims chapter this . The The

aim of this chapter twofold. is chapter this of aim art

’means ‘ and what (last accessed7 May 2013). conceptually clarify the term political term artthe . To complete clarify conceptually -

beautiful (mostly because of its unappealing look). I look). its unappealing ofbecause (mostly beautiful message. 2 It assumes falsely th falsely assumes It

Senses of Cinema political’ means.

o meano also I deny everything. , source: source: ,

with which I take issue: take whichwith I at political art must be be must art political at The controversy controversy The I deny the claim denyI claim the ter of of ter 2

CEU eTD Collection the resist hegemony confirm the merely or political a with topic not which dealing are whichinlax are political a from only and sense deficient (like propaganda of art) art works socia or economic values (cultural, and hierarchies imposed the by relationschallenging power in intervene critically to out sets deliberately that art that is sense, robust and narrow its in art, understandingin which the the pu ways for crucial nevertheless are demarcations conceptual these because meaning art of political the political with reas this For deliberation. and participation political genuine for needed faculties of the in possession being political as a viewer the to it appeals but politics Critical viewer. of the rational capacities or deliberative any to circumvents critical evaluationand affirms a political it because however, political deficiently is It politics. with is it concerned sense that or deficient a in political only is art propaganda myview, In is this: two the between distinguish to important isit The reason it critical call I (as propaganda is not that art be its autonomy gains art values, of hierarchies diff in art political of autonomy the We understand can experience). separate object/a separate (a separateness of matter a not is autonomy art’s Political associated). is it which with experience separateness in of art terms

a separate realm. a separate l). This understanding of political art allows us to distinguish between works of art art of works between distinguish to us allows art political of understanding This l). Secondly, I want I Secondly, status quo(critical - distinctive ways of framing framing of ways suggest I art. distinctive with and propaganda not art critical imposed culturally and politically socially, criticizing by terms: erent

to clearly distinguish political art that is p that art political distinguish clearly to -

political art). political (i. wheth (i.

minimal sense of the term. Propaganda art is political in the the in is political art Propaganda term. the of sense minimal er of the art the of er blic engages with political art. political with engages blic

and its potential for resistance without needing to to needing without resistance for potential its and -

political art political 3 - work as an end in itself or of ii. a mode of of mode a ii. of or itself in end an as work status quo ) . Why is this distinction important? important? distinction this is Why . - political art is not only about about only not is art political or acause or on, my thesis is concerned concerned is thesis my on, ropaganda from political from political ropaganda

I conclude that political political that conclude I without appealing without but critically critically but CEU eTD Collection 3 self a with collaboration covert naïv as outdated, like, strike one the universal genius, and value, wholeness, immediacy, of disinterestedness, vocabulary “It’s classical construct: ideological this For art. is good what imposes ideology This ideology. of an is that aesthetic of the function quo Willi (Raymond “evasion” TaylorGriselda Roger and Pollock, Bourdieu amongmany Pierre aninstrument or others) of aesthetic the that holds position the aesthetics (bad art). lesserit art andmakes a this purpose aesthetic society’ about example, for angry make to us but experience aesthetic us afford an not isto purpose its because art aesthetic the aesthetic via primarily operate not does claim, critics these art, kind).Political while political art of art dimension aesthetic the undermines politics between encountering because art the proper/good not is art political theorists is a there hold that Many theorists two. between the encountering the regarding all discontent of in spite

Terry Eagleton, The ideology of the Aesthetic theoretical camp, the most frequent critique of the aesthetic asserts that the aesthetic is an is aesthetic an the that aesthetic asserts the of frequentcritique most the camp, theoretical (cultural elites). The argument which underlines this claim goes like that: the real real the that: like goes claim this underlines which argument The elites). (cultural the aesthetic the Chapter two Chapter The second theoretical camp also argues that there is a gap between political art is agap there that argues also camp theoretical The second that argues Kramer) Hilton DonaldKuspit, (e.g. detractors of category first The ?

gap between political art and the aesthetic. Why there appears to be a gap for these for bethese agap to Why appears there and aesthetic. the art political between gap is a confrontational art, dealing with problems of injustice or abuses of power abuses power of or injustice of problems dealing with art, is aconfrontational

e first category of theorists. This theoretical theoretical This theorists. of category first e th than reasons different for but

is something which has to dowith pleasura a has to which is something a ttempt ams) which usually supports andams) which usually popularizevalues supports the the status of s

and joining aesthetic the and sound provide way of a to

- interested hegemonic politics” hegemonic interested is an “ideological construct” (Terry Eagleton, Paul de Man, Paul Man, de (Terry Eagleton, construct” is“ideological an s problems. They conclude that political art does not have not does an political art that conclude They s problems. , Oxford:, Blackwell, 1990

(the aesthetic value of art). They assume that that They assume value of art). aesthetic (the 4

, p.34., 3 . Griselda Pollock claims that that claims Pollock Griselda .

ble experience (ofa special e, and perhaps as even a a even as perhaps and e, political art, :

it is not an

and art art and and and

CEU eTD Collection 4 and redefinition substantial nowadays has undergone “the aesthetic” that clear is quite It section. third the focus of the be will features still aesthetic are art of properties perceptual and aesthetic). the and s evaluate aesthetic in four proceeds My argument aesthetic. as the counts what firstlyexplained be it has to my arguments, forth understandings of the aesthetic experience aesthetic the see critics These concept. of the understanding purist the aesthetic aesthetic of categories Both another. is aesthetic apure and thing one is aesthetic the chapter, in this argue with apure aesthetic aesthetic the conflate of critics categories both seems It that employing. are they aesthetic of the notion the in with accordance evaluated unity form and pleasant damage the politica of requirements aesthetic the because value aesthetic of forms all must reject art political contexts. should understand and appreciate works we and of Art”; art “High or in Art total be Fine to detachment ought or are of art from works their properties); social, historical perceptual purely and formal orare political only of art Works ideas: several embraces art to approach aesthetic A pure Bullough). and (Stolnitz theorists attitude the and Prall) Fried, Greenberg, Gurney,

Responsible for this purist version of the aesth the of version purist this for Responsible critics (1) critics the aestheticthe

The need for need The c both Against What I hope to envision in this chapter is a revision and an enlargement of the of the is enlargement revision and an envision a in chapter hope to this What I

purist version of purist version of the namely, it, of version historical influential and particular a with the two categories of detractors of the encountering between politicalbetween encountering of the detractors of categories two the attempting to highlightattempting its to meanings. traditional (and as a way of engaging the ideology of the elites). ideology elites). of the the as engaging away(and of .

4 and and

The second category of critics also reduces the complexity of the aesthetic to a to aesthetic of the complexity the reduces also critics of category The second

. steps (the theoretical positions which hold that there is a gap between political art art political between is agap there hold that which positions theoretical (the (2

) fail) make to this distinction. T

a revised understanding of the aesthetic of understanding a revised ategories of critics ategories the of the concept the on willfocus I chapter, of this section first In the

which will accommodate political accommodate will which

have aesthetic properties and p and properties aesthetic have etic are the modernist formalist tradition (Bell, Fry, Hanslick, , I argue that political art does not need to be be need to not does art political argue that I , l message. 5 he first category of critics critics of category first he

The second section The second urposes (and the aesthetic properties properties aesthetic the (and urposes approach to art. However, as I as I However, art. to approach

- according which to non critical art. Before pu Before art. critical asmerely a identifies identifies critical art

critically critically sensual sensual tting tting the the -

CEU eTD Collection (Shaftesbury’s) asopposed 20 to the 5 of an experience we have an cannot aesthetic that do). may Stolnitz holds object the say or understanding, we pay attention to art disinterestedly (our attentionis not interested in what means 20 the For aesthetics. modernist of hallmark and the be bridged and aesthetic can. fruitfully the art the gap experiencing, and appreciation in art features aesthetic perceptual non By accepting art. radical and conceptual political, accommodates James Shelley) en considering the aesthetic of form as an aesthetic of meaning. The aestheticmeaning. The of aesthetic as an form of aesthetic the considering disinterestedness political (polit meaning a and function a has content art’s only (not it of significance political devaluated aesthetically is the content while piece art of the structure isnot only amatter of content but ofform too. I argue political art that argue I view. this challenge I section, this In form. of the counterpart political non the as is considered content the and depoliticized and meaningless completely it putsforth. In thisis which of art underst component aesthetic as the is form seen anding, idea the or (meaning) matter subject art’s to opposed as (form) aesthetic the of understanding it an is form also but from content just demarcating awaynot is art) of on accounts vers “content formula The art). aesthetic/bad usuallydefined asmatter a of content andmeaning (for this reasonit is also seen asnon formal the with it) of versions purist the (in

To this end I attempt to re largement. This enlargement of the concept of the aesthetic (for example, as envisaged by by as envisaged example, (for aesthetic of the concept of the This enlargement largement. "no concern for any ulterior purpose" anyfor ulterior concern "no Section four also argues for bridging the for gap argues also four Section C - critical art, without radically displacing the traditional and contested aesthetic aesthetic contested and traditional the radically displacing without art, critical hapter hapter three three . 5

considered the paradigmatic concept of aesthetics aesthetics of concept paradigmatic the considered was Disinterestedness argues that we can shed a positive light on interestedness in attending inattending interestedness on light can we apositive shed argues that -consider the18

century understanding of the term (Stolnitz’s). th

century understanding of the aesthetic disinterestedness disinterestedness aesthetic of the understanding century

aspect of the work. By this token, political art is is art political token, this By work. the of aspect (Jerome Stolnitz’s definition). According to this this to According definition). Stolnitz’s (Jerome

6 us aesthetics” (held in the purist aesthetic aesthetic in purist the (held aesthetics” us between th

century aesthetician, “disinterested” “disinterested” aesthetician, century that form is not the depoliticized depoliticized the not is form that ical) but also art’s form. art’s also but ical) the aesthetic

and and has been identified

n political n political betwee political art

- aesthetic, aesthetic, by by - - CEU eTD Collection 7 6 interests (Stolnitz’s), Shaftesburyinterests of type aspecific to “disinterestedness” opposes 18 (the Shaftesbury’s disinterested while the attention cannot be moti of matter a as disinterestedness of thinking to attention mode of a as disinterestedness is argument). core of the her attention (poli interested between “switch (the and perception apprehending politically of disinterested the for aviablesolution not offer does She of attentions”. “the switch in cor the exactly resting difficulties of the because especially questioned be maystill Brand’s account manner). in and adisinterested ininterested an both experienced at switch our to condition: with one art political of apprehending disinterested and interested both have can we ground: middle a found has she that holds one) only the knowledge, my (to in att disinterestedness aesthetic of instance an then preserve we Should it. to response (disinterested) than apassive rather art, an of active use about more talk can Thus we domination. one). beinterested an will apprehension (the art this of purposes” “the ulterior about care will viewer the because experienced aesthetically political disinterestedness, of this understanding accept If we d attitude). disintereste (the way aesthetic in certain, object the perceive don’t we unless object 20 Robert McGregor, “Art and the Aesthetic”, Journal of Aesthetic”, the and “Art McGregor, Robert

RobertMcGregor holds that attentionprimitive, is that is,attention does divide Paradoxa,notin Art”, up into different political and kinds(see “Disinterestedness Brand, Zeglin Peggy tention from a disinterested mode to an interested one (in this way political art is is art political way this (in one interested an mode to from adisinterested tention th

century understanding of disinterestedness which eliminates from aesthetic experience all all experience aesthetic from eliminates which disinterestedness of understanding century vations and reasons (on the grounds that our motivations and reasons can be interested or or interested be can reasons and motivations our that grounds the (on reasons and vations What I propose instead is- are instead propose I What Political - cri tical art strives to arouse viewer’s awareness of the mechanism of mechanism of of the awareness viewer’s arouse strives to art tical th

ending politically concerned art? A contemporary philosopher of art of philosopher contemporary A art? concerned politically ending century understanding of the concept of the understanding century - charged art because she still reduces disinterestedness to attention attention to disinterestedness still reduces she because art charged

thinking of disinterestedness by changing the focus of of focus the changing by disinterestedness of thinking ).

7 Aesthetic and Art Criticism Art and Aesthetic

This understanding of disinterestedness echoes echoes of disinterestedness understanding This 7 tical) and disinterested (aesthetic) (aesthetic) disinterested and tical)

of disinter of No. 9, 1999. 9, No. , Summer 1974, pp. 549 - - critical art cannot be be cannot art critical estedness

e of her argument – e of her argument ). Unlike the the Unlike ). 559).

CEU eTD Collection According to Accordingthis to beauty, understanding of political askingjust somethingis (we sensebeautiful without why that somethingthat is beautiful). responses immediate it are to responses and our it affords) pleasure the (excepting function pleasure ty ariseinviewers adistinctive to be objects some to an of taken ability word understand century 18th the closer to someis to extent apprehension art critical for seems suitable which disinterestedness of kind The judgments. political and judgments moral of independence means which 20 (the modernist the interests bargain a pecuniary sake of the for interest the only (like selfish interests selfish pecuniary or to is it but opposed interests of absence all lack the or not is Disinterestedness disinterested a of centrality the maintain to because Brand) or by Stolnitz proposed manner that (as in adisinterested experienced be cannot political art that argue I section, last In the appreciation). aesthetic art in political “disinterest between conflict no is there that prove to (attempting contemplation” idea “active the of five discusses Section experiencing. art’s political ) of attentions” switch (“the solution Brand’s I evaluate critically four, In section art. of tion apprecia from disinterested be out ruled cannot interests cognitive least at how show I section, third the In appreciation. art’s and contemporary art from political disinterestedness I present denoting an ethical attitude and not a privative concept as interests. of absence allthe concept a privative and not denoting attitude ethical an Chapter four Chapter In 18 thefirst (the section traditional of this the chapter,both I discuss ). –

aesthetic pleasure. Typically it is argued that beauty in an aesthetic sense has no no has sense aesthetic in an beauty that argued is it Typically pleasure. aesthetic and and

take issue with those contemporary theorists who reject any form of anyform of reject who theorists contemporary issue with those take (and other morally questionable interests) questionable morally other (and

argues that beauty is not at odds with political art. T art. with political odds at not is beauty that argues th

century) meanings disinterestedness. term the century) of ingit of

(but, as I will show, it is not identical with it). with identical not is it show, will I as (but,

attention means to sustain the aesthetic attitude attitude aesthetic sustain the to means attention 8 - critical art does not seem to raise in in raise not seem does to art critical . Disinterestedness is a “noble” is a“noble” Disinterestedness .

and other selfish or immoral immoral or selfish other and edness” and “engagement” “engagement” and edness”

In the second section, section, second the In raditionally beauty is is beauty raditionally pe of unmediated ofpe unmediated th

century) and

in in

CEU eTD Collection 8 f no beauty has view that popular issue the and with take present also I pleasure. and unmediated the identify mistakenly which views narrow those meaning (and its function) is beautiful. ifits art beautiful still a be can viewer the please to with purpose is created the not art political distancto be kalliphobia called could attitude (their possible as senses the to as unappealing art an produce deliberately artists activist and artists critical Many sight. first the at beauty with us strike not which does is art of a type art Political sight. first the at good look thing beautiful every does Nor beautiful. fact in is beautiful looks that everything not light, this In forms). art through expressed is idea that which in way the and thereout whatrelationshipswhat and between is (in there out what the object) is our in mindabout is way experiencing a of beauty as of the an understanding endorse I senses, to pleasant somet nor out) pointed rightly Kant (as object the in something neither is Beauty argued). have theorists some (as engagement s with critical odd isit at lacks or mean that not but this does look), its unappealing of (because one recognizable immediately an not and demanding difficult, be a to seems case, art’s in political Beauty, beautysho that argue I chapter In this look). unappealing its of because (mostly pleasure aesthetic of feeling the viewers flow. might qualities aesthetic other which in beauty and art between gap aconceptual opened has movements) (Dada Unnatural Wonders: Essays from the Gap Between Art and Life,

Max Ernst used to claim that my art is “not meant to attract, but to make people scream” (see Arthur Danto, Danto, Arthur (see scream” people make to but attract, to meant “not is my art that claim to used Ernst Max unction “beyond the pleasure it generates”. pleasure “beyond the unction

My argument proceeds in proceeds My argument immediately is which that as beauty of understanding traditional common, the Unlike

e their art both from the mainstream art world and from the art market art from andthe world mainstream art both from the art e their rasping an idea idea an mean ratherbut not (“experiencing”“sensually grasping does perceiving”

. pleasure type of restricted acertain to be restricted not uld f our parts. parts. our In the first section, I set forth and take issue with issue with forth and take set I section, first In the 9

hing inhing the viewer’s only. eyes

locus – ‘beauty phobia’ ‘beauty

Macmillan, 2005); the the histori 2005); Macmillan,

of beauty in disinterested experiences experiences beauty in disinterested of ) .

I n doing this they hope hope they this n doing cal Avant cal

. 8

Yet, evenif Yet, Garde -Garde

CEU eTD Collection beautiful” (that is, the dependent beauty a thing has as a thing with a certain function(s)). function(s)). has as beauty with athing acertain a thing dependent is, the (that beautiful” realm. aesthetic the within still remains independence we make needbe not ingrounded first the inplace any judgment of free beauty and this always dependent is case beautyin art’s show that to beauty attempting free dependent and between distinction Kantian the depth in revise I end, this To function). certain a with thing a as has thing a classification (thebeauty athinghas as at narrowly as self as narrowly of beauty dependent attempt I show to beautythat is andnot should benot understood beauty impure (beingin doesjudgment) an not. By terms beauty art’s understanding political free ofjudgment beauty remainswithinjudgment the realm, aesthetic while theof dependent only the that claim aestheticians beauty?free Some submitthe to compelled to not isbeauty d need show I to that Why beauty. do free the to time, same the itself, at submit being to compelled without beauty) straightforward of pleasurable type not “difficult” and whatit is independent of account, its own freelyit on like webeauty free something (as to opposed as function) acertain and with kind certain has of athing a as athing beauty (beauty type of artists. political bymany contemporary deliberately is avoided critical art powerful and consequently damagingthe (for beholder). On these pursuing in grounds, beauty is beauty too contrary, the on second, the to according useless; consequently and weak beautyis too first, the according to art: in political presence beauty’s of unsuitableness the

The fourth section attempts to argue argue th to section attempts fourth The In the third section I argue th argue I section third In the The second part critically examines two contemporary theoretical attitudes regarding regarding attitudes theoretical contemporary two examines critically part The second

and what it does). itPolitical does). and what - subsistent because beauty is beauty not because subsistent

and never pure (free beauty). The aesthetic judgment of dependent beauty beauty of dependent judgment aesthetic The beauty). (free never pure and - political at - critical art can claim a dependent beauty (an impure, impure, beauty (an adependent can claim art critical hing of a certain kind) and (b and a certain kind) hing of 10

at political at independent of concerns with (a with concerns of independent critical art is characterized by a dependent by adependent ischaracterized art critical

- critical art can be “functionally “functionally can be art critical ) functionality (beauty (beauty functionality )

) conceptual conceptual ) ependent ependent CEU eTD Collection hegemony (because is within make investigates political effective within aninstitutional setting or political whether investigate to section tries The next art. of critical denyi for reasons the with deals section The second mean “effective” does what investigate will th address thisnot, chapter if political clarify to order In mean. “effective” does what to answer in with issue “effectiveness” the of

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CEU eTD Collection Hypatia, made in a way that involves political action” (Amy Mullin, “Feminist Art and The Political Imagination”, i For distinction is essential). is distinction will this propaganda(I not below that which andis argue art propaganda art political art 11 10 political 9 views two and art of relation the regarding controversy mix. This can or should means. ‘political’ t form style) (or too of but of content matter a exclusively not is political art that fact the acknowledge fails to for problematic is art political of definition sense common this time, same the At in acircle. goes thus and art” “political define to “art” and “political” to terms the it appeals because is tautological formulation This art) political of common understanding (a sense content” message or with apolitical “art like is something political art that assert merely to accurate enoughor not is it time, same the At of contestation. matter a is which of each and ‘political’ and ‘art’ concepts: two contains because “political formula answer the is There immediately answer. no straightforward

erm “political art”. To complete this aim I need to first discuss what ‘art’ means and what means what and ‘art’ first discuss what to need aim I this To complete erm“political art”. Center for Artistic Activism, source:

CHAPTER 1. CHAPTER This will be largely treated in the second chapter of this dissertation. This common sense definition of political art is entrenched in art theories and common language very much. nstance Amy Mullin holds that “political art designates art that explores political subject matter but it is not -art/ The Firstly, straightforward immediately no of admits question this Clearly, art? political is What Vol. 18, No. 4, Fall 2003, li

(last accessed 6August 2013). art is always political (“all art is political”) and and which political”) is I willart take (“all issue: first, political always that is art

aim of this chapter is chapter aim of twofold. this it assumes that political art must be political in an overt sense. overt an in political be must art political that assumes it There is a great debate concerning the question of whether politics and art art and politics whether of question the concerning debate is agreat There

POLITICAL ART POLITICAL . 11

Thirdly, Thirdly, ‘ Art aboutArt politics is

at least three reaso least at three nk: http://artisticactivism.org/2012/10/an Lambert, Lambert, it fails in fails it http://www.public.asu.edu/~kleong/activistarttheory.pdf

Firstly An Open Letter to Critics Writing on Political Art) : A CONCEPTUAL CLARIFICATION 12 distinguishing between political art which is is which art political between distinguishing

ns. ns. , this chapter aims to conceptually clarify the the clarify conceptually to aims chapter this , not political necessarily

-open -letter

politics is due mostly to to mostly due is politics - to art’ -critics

(Duncombe and and (Duncombe -writing

). Secondly, Secondly,

-about art” art” .

10 it it - 9

CEU eTD Collection is call itI propaganda (as art that not from political realm. separate necessari them of each mixbecause really art and cannot politics that second, merely a container of political messages (as p (as messages political of container a merely is not art political critical sense, narrow, its on In them. merelyit not anddoes reflect power of in relations intervene critically art is that marginal,forgotten and art excluded.Political status the quo opposes and which criticizes equally“polit not are (while they degree to same the “political” being as considered are sense) very general and lax in a only political is (which art and propaganda art political way, then it this if understand we that later argue to going I’m political. the of conception reductive and witha simplistic te opera fashion in “political” this call art who theorists those assumethat I and understanding accepted largely loose way of speaking and a problematic understanding of political art. I don’t endorse this which deliversart a or poli politics, with deals art. with andpropaganda not critical art politic genuine for needed faculties of the in possession being political as a viewer the to it appeals but politics Critical viewer. of the rational capacities any or to deliberative becauseit circumvents critical evaluation and affirms political a however, political deficiently is It politics. with concerned is it that sense the in political is art minimal Propaganda isinor thesense term. of a political deficient view, only propaganda art In is this: two the between distinguish to important is it reason The important? distinction Secondly, this chap this Secondly, This chapter’s conclusion will be that political art, in this sense at issue here, is that art art is that issuehere, at sense in this art, political be that will conclusion This chapter’s istype of that political art in that theory art mentioned, as already held, is It commonly

al participation. For this reason, my thesis is concerned with political with is my concerned thesis this reason, For participation. al ter ter attempts

to clearly distinguish political art that is propaganda is propaganda that art political clearly distinguish to of the moment and gives a voice to and a gives moment of the 13 tical message. But, as I will argue, this is both a a both is this willargue, as I message. But, tical ropaganda is)ropaganda it but is in politically polyvalent ical”). , critical ,

- political art is not only about about only not is art political status quo - political in the same sense and without appealing without art). art). ly belongs to a to belongs ly

those who are are who those Why is this this is Why my my - CEU eTD Collection 12 conditions sufficient and necessary of terms in defined be cannot art that hold usually They are sceptical any about possibility of de indefinable, open as an its contours by tracing or (essentialism) conditions sufficient and necessary terms of sphere ofthe art. to regard practices makew into of our sense it matter order does At time, same it “art”. the calling to My response contr the on art, Propaganda from above. imposed message political by asingle down be chained cannot It interpretation. for make into room movement order flexibility of needs acertain It its criticality. question“But isit art?” - non with common in has art pos Felshin Nina art). not are (which actions political from indistinguishable considered sometimes is practice art’s political because non from art distinguish to me allow will (wo useful a adopt to is do to want I what but now, and here problem solvecomplicated hope to this don’t I them because to and objections the of art definitions the all here discuss not will I criticism. from free art of Until definition on. no so is and there moment definitions historical definitions, procedural definitions, functional 1.1.

Nina Felshin, ‘But is it Art? The Spirit of Ar What is art? There is a long tradition of trying to examine art either either examineart to of trying long tradition a is There Many definitions of art have been proposed by philosophers, artists and art critics: art philosophers, artists and bybeen proposed have Many art of definitions

- Felshin is that it does matter because, otherwise, why would she bother bother she why would because, otherwise, matter it does isFelshin that ended concept (anti concept ended 12

is “What does it matter?” (if the piece fulfils its critical purpose). purpose). its critical fulfils (ifit piece matter?” the does “What is ary, not does pose questionsmeaning of interpretation. and

artistic forms of political activism, the proper answer to the answer to the proper the activism, forms of political artistic - t as Activism’, Nina Felshin (ed.), Bay Press, Seattle, 1995. Seattle, Bay (ed.), Press, Felshin Nina t as Activism’, essentialism). Some theorists (following Wittgenstein) Wittgenstein) (following theorists Some essentialism). fining art in an essentialist way (i.e. Morris Weitz). Weitz). Morris (i.e. way essentialist an in art fining - art. Why do I need that? To put it shortly, I need it it need I shortly, it put To that? need I do Why art. its that in thelight of thefeatures which political 14 by providing a definition in in definitionby a providing rking) definition which rking) which definition

this this ith ith CEU eTD Collection conditions of something to be art (“aboutness” and “embodiment”) put forth by Danto latter on. latter byDanto forth put “embodiment”) and (“aboutness” art be to ofsomething conditions and interpretation) from his 1964 article “The Artworld”. For the moment I don’t deal with the other two 14 13 as a natural opposed humanto ofproduct work), world(s)”. By andof art art world(s). “Xis art” ifX Danto’s Arthur combines aview that I will adopt art, - non from art separate to tool the provides world(s)” art “the of notion the my For purposes, object. o be can awork if object Even any in Founta after (especially visible/perceivable simply and non art between Maybe difference the canis be art”. or “everything wayfor distinguishing from for anything art avoiding else sterile conclusions of the type convincing and worldtoday’s art virtually hold that anything be I can need art. an efficient functions forms, art and art kinds, art disparate of plurality the encompass (to exhaustive be andpurposes a monist would concept of art never different for useful are concepts art different is make that to try biology of philosophers these is concept n art the that claiming concept, art the of monism assumed the also but art of definitions essentialist only the not question theorists Other possess. fact in not do arts different so the which trait common - arts in all which resides finda commontrait mean to definewould it way this because to positionin philosophy of biology concept implicit assumption of art concept monism, disagreeing only about th Magnusargue Uidhir and P.D. 97.

I have to note here that I look only at Danto’s concept of the “artworld “(namel “artworld of the concept Danto’s at only I look that here to note I have Christy MagUidhir and P. D. Magnus, “Art Concept Pluralism”, Metaphilosophy

art. In the attempt to make sense of what is art and how can we distinguish it from non from it distinguish we can how and art is what of sense make to attempt In the art. Yet, for the purpose of this thesis I need to distinguishfromnon forneed to of art Yet, the this purpose I thesis :

“We argue that this is a mistake. Species concept plura concept Species mistake. is a “We that this argue

“artifact ” I understand a product of some human activity (not necessarily a a necessarily (not human activity of some aproduct understand ” I

that both art essentialists and art anti art and essentialists art both that

ot a monistic concept but a pluralist concept. Chris concept. apluralist but amonistic concept ot – f art does not mean that a that mean not does f art provides a model for art concept pluralism”modelfor art provides a is an an is 15 ).

kind. kind. artifact 14

Even in the case of the “found objects” objects” “found the of case in the Even and and

and Howa

brought into existence by the “art by“art intoexistence brought the Brillo Boxes

work of art can beof art work rd Becker’s understandings Becker’s understandings rd y, its role in fixing art’s identity , Vol., 42(1-2), 2011, pp. 83- lism lism - e structure of that art essentialists share an an share essentialists ) but it is still there. there. still is it but ) -

- art is no longer longer no is art - well a

- art. Many in in Many art. . 13 that

The point point The explored

ty Mag Mag ty kind

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a - CEU eTD Collection art world public (George Dickie, The Art Dickie, Circle, (George public world art artworld systems; 5. An art world system is a framework world art 4. The is the for them; to totalitythe presented presentationis which of object an all of understand awork to degree of some in art byprepared an artist to an are of which members the of set persons a is A public 3. public; world art an to be presented to created kind is a person who participates with understandingInstitutional Analysis, in the mak certai of a behalf on acting aspects ofwhich has conferredhad upon it the status of candidate for appreciation by some personor persons 15 institutional in lies the exactly viewDickie’s and between Danto’s main difference The recommendations. init Danto’s overlooking art of theory institutional the of development the in others only for of art status the confer who institution, a certain ofbehalf on acting people r and othe curators whichhe claims that the art worldis aninstitution represented bycritics, artists, theorists, from 1997 other the and fromit: one 1974 versions of two are (there of art” theory from(in his article 1964– institutions of art or themainstream (the official)institutions of art. - non from it distinguish to and painting. - non from art distinguish cannot we theories these that time. become has depends what on art of history the within moment acertain at art be can a theory historicalbyin provided the art context which is If the work produced. something t but critics art or by artists held of theory any kind refer to not does of theory” “atmosphere is ofwithin art done which a work gall art to bringsit artifact an becomes exampleadriftwood For piece. art an be considered to inis order applied aprocedure kind, natural of readymade) (the

The 1974 definition of art holds that a work of art “in the classificatory sense is (1) an artifact (2) a set of the of set the (2) a artifact (1) an is sense classificatory the “in of art work a that ofholds art definition 1974 The Until now we have two main philosophical theories of the “art world”: Arthur Danto’s Danto’s Arthur world”: “art the of theories mainphilosophical two have we now Until

artifacts These theoretical environments make art possible and allow us to identify it as art art it as identify to us allow possible and art make environments theoretical These

Art isArt a kind depends offor that thing its existence upo - issue.it, Roughly worldthe art is put institution anforis Dickie (it an . Thus, the notion of art world was appropriated and used by Dickie and byDickie and and used was world appropriated notion art of Thus,. the

Cornell University Press, Ithaca, 1974, p. 34). The 1997 definitions state that (1) an artist ery etc). By “art etc). ery n social institution (the art world)” (George Dickie, Artand the Dickie, Arsthetic: (George An world)” art (the institution social n “

The Artwor The art. Ye art. - world(s)”, I understand certain theoretical environments environments theoretical certain understand I world(s)”, t, these theoretical environments are not necessarily the the necessarily not are environments theoretical these t, , apprehended and distributed. Danto and distributed. apprehended , says that the

New York: Haven, 1984, pp. 79-111). ld” ) and George Dickie’s influential “institutional “institutional influential Dickie’s George and )

16 with some human action (the artist picks it up, it up, picks artist (the human action with some ing of a work of art; 2. a work of art is an artifact of a a of artifact an is ofart work a 2. ofart; work ofa ing art: “black paint is just is paint “black art:

n theories of art. Without Without n of art. theories

black not paint” and art up to upto art ), 15

ial ial in in o CEU eTD Collection Vol. 39, No. 4 (Summer, 1981), p. 413. 16 and ar of is art theory the acritical (but theory history art and theory art of in atmosphere an consist also they one, globalized the to reaction Di institutional, the in its opposition manifests it Usually independent (forart exam of theories and institutions mainstream to as reaction emerged have worlds” “art and parallel New other. the world criticizes art of one aesthetics the sometimes and, boundaries flexible has this distribution developed (he worlds art term plural the used Becker S. Howard Sociologist contributions. of other importance neglectthe cannot we newspap college’s read who alumni, persons professors, (retired college with the less connected or more of also people but institution), the (of college the of and employees students mean the only not he does community’ ‘college the Danto’s understandingbe should as regarded a of kind community annot institution is world art the Danto For art. h if even of art”, theory “institutional of the proponent a as regarded sometimes wrongly is he Danto, by world art to attached importance enormous the of Because theory”. of atmosphere an and history “art by isconstituted Danto whichinstitutional structure conferto power generates the status of a that t that I it. suggest affected in turn, by who, and affected college lives were people whose of all those

Jeffrey Wieand, ‘Can There Be There an ‘Can Institutional Wieand, Jeffrey TheoryCriticism, and Art of Aesthetics of Art?’, The Journal he art world is a community rather like. this” is worldhe acommunityrather art Beside these philosophical definitions of the “art world “art the of definitions philosophical these Beside Aesthetic Journal Aesthetic ple, ple, The Independent Media CenterPhiladelphiaThe Independent Media of ckian to describe the diversity of possible art productions and networks of networks and productions art of possible describe diversity the to

sense). But, even if these alternative art worlds have emerged as as have worlds emerged art alternative if even these But, sense).

). Political). hasart its own alternative world art worlds). art (or

vis a vis a vis

concept after Dickie after concept

the mainstream, globalized art world (und art globalized mainstream, the e never said that he had an institutional theory of of theory institutional an had he that said never e er). 17 t hi t . As Jeffrey Wieand suggests, the art world in in world the art Wieand suggests, As Jeffrey . story is a history from is bel history story a 16 “ The com The

’s

munity,in other words, consisted in 1982). These art worlds have have worlds in These art 1982). ” offered by philosophers of art art of by philosophers ” offered : when somebody speaks of rt to artifacts) while for whilefor artifacts) to rt which edit an to used ow).

erstood erstood

CEU eTD Collection wi contradicted. be not seems to decry”) cannot eye the something requires as see art something (“to functionalist theory allows n less As long as restrictive definition. this functionalist with a less restrictive, conjoined be could “artworld” in of terms of art definition Danto’s light, In this perceptual). not are which properties exhibits as aesthetic art be art aproblemit should not that then aesthetic, the view of restrictive less ifhold a we that sense (in the art of my understanding with compatible couldbe of art definitions contemporary that other above, is That stated I on). why, radica political, (conceptual, production art of contemporary amount considerable definition wouldbe workablefor distinguishing from art non percep non it to extending by aesthetic of the concept the on more work could we Perhaps, non wouldbe considered art of contemporary isof art consid expressive properties formal or access Our these to art. inidentifying as essential expressive) or formal like the some concept allied (or aesthetic of the concept the take Usually they soci behalf acertain of the on acting persons some because status art the acquired been which had objects those to or definitions) (functionalist senses five means the of by the perceived be aesthetically combination of the two) do not restrict a (the definitions these of art, definitions other Why? Unlike myfor most suitable purposes. the

th theinstitutions of authority and power (that is, with themainstream, established art tual 2004, Carroll (as properties Shelley2003, Unlike institutional definitions of art, the “art the art, of definitions institutional Unlike F In my view, Danto and Becker’s understandings of art (in terms of “art world (s)”) are world are (in of (s)”) “art terms of art understandings andmy Becker’s Danto view, In unctionalist definitions of art of definitions unctionalist

ered to be mediated by sensing. Then, if we accept this stance, many instances instances many stance, this if accept we Then, sensing. by mediated be to ered al institution say so (Dickie's (Dickie's so say institution al on - perceptual art to inhere the class of art, Danto’s requirement requirement Danto’s of art, inhere class the to art perceptual

take some function(s) to be definitive of artworks. artworks. of be definitive to function(s) some take rt - hood to either either to hood 18 - art because we experience them differently. them differently. because experience we art institutional definition). institutional - world (s)” theory doesnot tend to side

etc). In this case, a functionalist functionalist a In thisetc). case, compositionalelements which can - art without leavingart a outside

l art and so andl so art - CEU eTD Collection Institutional Theory: A Protean Aesthetics of Creature”, Journal British 18 17 art while Dickie’s art, identifying for factors important most the are theory art “art the of definition Danto’s But decry”). can eye the that something not is “art that slogan Danto’s fromnon art discriminate to be enough can alone perception aesthetic the that belief the surpassing social) or historical, economical artwork; of the wholethe context account into converge) to seem theories Danto’s and Dickie The art as art. of art dissemination and in presentation the and hierarchies structures visible the create institutions art official the obviously, but, well as spaces peripheral This d etc). catalogue biennial, gallery, museum, (in a context in institutional an pieceis presented always The art institutions. mainstream the through only account institutional in the visible made is world reason or other that the institutionhas for saying that it is a work of art. rejectinginstitutionalism is the some strong there everyof art, for in work is defining that art for reason another Besides that, of power. institutions its art on basisof just the else whatever is is and what art what decree could regime political despotic way,any In this distribution. recep production, art of confinements bureaucratic the just are they because “art” becomes something which through boundaries the constitute cannot institutions art an circular is it problems: has still definition art of aggregation ‘art if the Even “heavies”). art and what is not art) includes “the essent “the includes art) isnot and what art is what decides (who institution” “the that claims he when hierarchy a of touch the definition) Derek Matravers distinguishes between strong and weak institutionalism but criticizes both of them (”The See George Dickie, George See institutionaldefinition, typically representsitself as a top I agree that the “art the that agree I - world” differsfrom Dickie’s.it put shortly, To inDanto’s art

. Chicago: Spectrum Press, 1997. 1997. Press, Art Circle: A Theory Spectrum of Art Chicago: . - worlds (“the Art (“the worlds oes not mean that art pieces cannot be produced in alternative, in alternative, be produced pieces cannot art mean that not oes - - world”is a sort of conditionfor something be to art (here both world’ is by seen inDickie his new, 1997’s definition, as an

- world is the totality of all art all of totality the is world . At the same time Dickie still maintains (in his new new his (in maintains still Dickie time same the At 19 ial core” and the peripheral groups and peripheral the ial core” . Art is defined in this way relationally (taking (taking relationally way this in is defined Art . , 2000). - down process. The mainstream mainstream The down process.

- 18 - world world, art history and historyworld, and art

systems”), this - world is more more is world . 17 -

tion and and tion world, in The art - art (see (see art - CEU eTD Collection institutional an than atmosphere theoretical a more is world’ ‘art the and ones official the necessarily not are theory history art (art and of art institutions from amere protest) st prote art an delimit can we case art’s political the (in from commodity readymade artistic (1 several reasons: for approach hoodduringart a historical attain status period during that periods. other lacking is objects some why That theory. history art and art of evolution the to in relationship infor defining art general ( theory of andart history art is an history art frombelow. Yet, thishistory and theoryis crucial critical is a theory the in cases some mentioned, have as I already but, of theory atmosphere art Every ones. mainstream/official the only necessarily not are history” and The “theory art. as something that understand to theory) and history art (an framework theoretical the have we when art is something Moreover, art). not are but (wh activities fromit other demarcate to in order itself apractice as about awareness certain involve to has Art so. say institutions social of behalf the on acting persons world of artists and their publics institutions. organizedthe art around its evaluateapiece according havestyle to genre don’t we to that or “individualbut art) conceptual/political (avant past the in art considered not been have which situations and objects sociological. In other words, Danto’s art few. lucky the to limited isnot art to access the that sense in the world art democratic more a is thisit follow not does art is that indifferently equally and“good”)

Danto’s typ some because just become art not does something that be concluded, finally can It e ofe understanding of (inart terms of“artworld(s)”) is useful my to ;

(2 ;

) it allows the possibility of art production outside the mainstream it productionmainstream allows outside ) the possibility art of the (4 and political art in particular). The very concept of art has evolved has evolved of art The very concept in particular). art political and ) it tries to define art without using evaluative concepts (he claims claims (he concepts using evaluative without art define to it tries ) ) it helps delimitating art fromnon - world is a world of ideas and Dickie’s art - art Dickie’s and ideas of world a is world 20 - world is framed by a certain world by framed is a certain elite) ;

(5 - art, art from life and the fromlife art the and art, ; ) a pluralistic “artworld” “artworld” apluralistic )

(3 ) it makes room for for room makes it ) ich may look similar similar look may ich world is a a is world ly”; f ly”; - garde, garde, rom rom CEU eTD Collection Bruxelles,2007, pp.59 -68. responsabilite, 21 20 19 do we what matter no that assumption from the stems formula is political” “Everything art. about artist” an is “everyone Beuys, art” is political/everything is “everything paradigm relativist new 20 the that argues Gucht Der Daniel Van relations. power involving is - non as thing such no is it that isin sense the “all art political claim that others ismake political, every we choice that is way in same all the political that art philosopher (political Wafaa Wilson, non and political power). rejecting be (in another or the supporting sense of in political or political one way and cannot always is activity, human other any like art, that elaboration) further much (without granted a because political is art all that holds view first The political”. is art genuine “no and political” is art “all views: popular two to 1.1.1

Daniel Van Der Gucht, Pour Gucht, en Der finir avec Van la mythologieDaniel de l’artiste politique: de l’engagement a la Chanta See August Wilson, Review, Paris The political (and art is a human activity) because all human activity is shaped by structures by structures shaped is human activity all because ishuman activity) art a (and political – . or, for that matter, do not do – do not do matter, that for or,

Is All Art Political? The most common argument for “all art is political” assertion is that all human activity activity human all that is assertion is political” art “all for argument common most The and by politics objecting art between relationship the willscrutinize I follows, In what

For many art and cultural studies theorists studies cultural and art many For l Mouffe,

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to to CEU eTD Collection Political Dimension”,, Room No. Grey 2, MIT Press, 2001, p. 100. 28 stated that art whichis no conceptless andnot explicitly andjudgments purposeless are beauty which ofdependent distinguishedjudgmentsfree between beauty which of are coceptless and purposeless and art in not was interest main Kant’s if even 18 late the during appears art” “autonomous of idea The existence. actual its even utility or purpose, relynot a presuppose co theyin or that do judgments are autonomous The aesthetic judgment. aesthetic the autonomy withof the concerned he was where critique Therefore, purpose. yet s (like political) purpose have cannot own another art its is Art it. of outside reality the to relation no with entity enclosing is Art aself monad has no windows. which closed as art a completely view, conceives realms separate (a things: two entail to seem mix”, not should they and well here”allowed . art,is itit“ThisBiennale be not shouldn’t his and submission: regardingis therefore politics Whitney from answer following the has Hans received Haacke artist political contemporary the following: the is politics and art between conjunction of the rejection kind of example of the Another it Kramer). is it isbadart” (Hilton failed art, But very nowadays? isn’t all, After what so. Well, suppose I Party’art? Dinner ‘The circumstances…“Is be to reduced not to enterprise autonomous isan “art and Hickey) (Dave beholder” the to appeal aesthetic adirect register and politics shouldbypass “art Kuspit), (Donaldit as art” of understanding limit we our transparent,

Chantal Mouffe, Rosalyn Deutsche, Branden W. Joseph, and Thomas Keenan, “Every Form of Art Has a Has of Art Form “Every Keenan, Thomas and Joseph, W. Branden Deutsche, Rosalyn Mouffe, Chantal th The philosophicalidea of origins the of autonomy are found art of in Kant’s third is art “no both contentions, above the All

century based on Kant’s considerations about the autonomy of the aesthetic judgment judgment aesthetic the autonomy of the about Kant’s considerations based on century 28 ,

and and (b ) that art is an autonomous self autonomous an is art that ) t just decorative is dependently beautiful and not freely beautiful. freelybeautiful. not and beautiful is dependently just decorative t

per se but in se but per beauty 26 political” and “art and politics don’t mix and“art don’t and politics political” till be art. art. be till the sum of its social and material material and social its of sum the

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(as an aesthetic judgement) aesthetic an (as ) that art and politics are two two art and are politics ) that ncern with the object’s object’s the ncern with . He He . - CEU eTD Collection its own lines” Wilde own(Oscar lines” its non from church or state), the autonomy of one art (forsense example, (the painting) autonomy fromof the other aesthetic arts, judgment), the autonomy theof social art in autonomy general of art (the artist is free from patronage, 32 31 30 29 gro these on based is is art political” of “no argument itself).in The isan end such (it its existence as than own have purpose no other is purpose to work’s The art purpose. function or adirect without something of creation be the should be autotelic To itself). in end being an art way this (in practice serve other any not does practice art’s that soci to reference no makes artistic value laws that is and and by rules, own art its mean to governed taken that sake”. art’s for “art the of senses the o rely usually politics and art of mixing thethesis independence autonomy: art’s of sense only one will I investigate chapter of this purpose the For is “art autonomous”. mean that it is that Kant, ways, since manyinso different theory aesthetic its senses discuss all don’t here I and art is autonomous that is sameart’ not the as of thing beauty judgment aesthetic to autonomy of the autonomy. art’s about theory took They purposeless). and functionless are (which judgments freethe aesthetic saidKant about (19 art of autonomy the of theorists the Anyway, justification ( values); (2) radical aestheticism other and moral = from aesthetic separated value value is of superior aesthetic a concept is to (there moral spheres or other value of the values separation ( of the thesis and the Autonom and the Hamilton, Andy see issue, this on more (for life from separated is = art thesis (4) independence attitude; contemplation thesis = the aesthetic is the domain of disinterested, distanced contemplation, involving a special

The autotelism is anon There are various possible definitions for art for art’s sake: (1) mo “Art is or ought to be divorced from life. Art has a life of own its (just as thought andhas) develops purely on “auto of the senses the all here discuss don’t I Kant’s concept of free beauty (the autonomous aesthetic judgment) as the origin of a a of origin as the judgment) aesthetic autonomous beauty (the free of Kant’s concept What does it does What - art. art. http://www.thefreedictionary.

art needs to be a separated sphere of activity from everyday life a life from everyday activity of sphere be aseparated needs to art , http://www.andyhamilton.org.uk/).Art of y al and political values. Another way of explaining art’s autonomy is to say say to is autonomy art’s explaining of way Another values. political and al There is no one thing meant by the claim mean claim the by for artmeant to be thing autonomous? one no is There -utilitarian theory of art holding that a work of art is an end in itself or its own , The Decay of Lying, Lamb, 1909,54). p. Lamb, Lying, Decay of The

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n t In a very general sense, autonomy of art is usually usually is art of autonomy sense, general very a In his thesis. The i The thesis. his 27 ).

th we have to be aware that Kant’s reference Kant’s reference that be aware have to we

– and 20 and unds. In short, autotelic art is art that is is is that art art autotelic Inunds. short, because those theorists who reject the the reject who theorists those because derate aestheticism or separatism = the = the separatism or aestheticism derate

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CEU eTD Collection October 17, 1980. 33 painting. naïve and Therefore a afford to purpose the servers which art even not then itself) endin just is (it an end or purpose If hasno function, other art serves apurpose. or something about is which art also but all art are “Stonebreakers” of War” and “The Disaster “Guernica”, that only not deny to is itself) in end an and itself about is only it (when art pure is it when exclusive) mutually are politics and (art claim first The mix”). not should they but mix can politics autonomy experience aesthetic the ruins - mix not should they but mix can politics and art why reason the is That realmin (andis “autonomous”), but this sense appreciation our shouldbe of art autonomous. hasits separate own art say that they don’t way.So in autonomous an as art be appreciated to art” aesthetic as its own, life of independent any cal earlier Kramer Hilton have quoted I reality. political and social from detached realm, a separate necessarily not is art that concedes mix” not should they but mix can politics and “Art art. experiences experience the of autonomy the emphasizes of is sense a This something does itsenclosingveryrefer not entity to byitsnature nature. which external to self

Hilton Kramer, “Art: Judy Chicago’s Dinner Party Comes Brooklyn to Museum”,, Times New The York - referential, functionless and purposeless. “No art is political” stresses that art is art – aself that stresses is art political” “No purposeless. and functionless referential, For the moment, moment, the For The other autonomist claim (“art and politics can mix but they should not mix”) mix”) not should they but mix can politics and (“art claim autonomist other The , by, not this token only propagan

in the second chapter). in second the is obviously unreasonable because, as I already stressed, to admit that art is art only art is admit art only to that as I stressed, already because, is unreasonable obviously

autonomy which emphasizes the art itself the emphasizes which autonomy “art so mired in the pieties the in mired so “art ming that

I rejectI autonomist both claims

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Aesthetic Theory, Athlone,London, Theory, Aesthetic 1997, 5. p. Adorno, Theodor

of a pure experience (that the eye is an innocent organ of perception) while our aesthetic aesthetic while our of organ perception) is eyethe innocent an (that experience apure of function or purpose). Yet, what is interesting in Adorno’s approach of art’s autonomy is is autonomy art’s of approach Adorno’s in interesting is what Yet, purpose). or function Another way of understanding art’s autonomy is theorized by Adorno. The autonomy autonomy The Adorno. by theorized is autonomy art’s understanding of way Another The other autonomist stand “art and politics can mix but they should not mix” is also also is mix” not should they but mix can politics and “art stand autonomist other The components). The political significance of art does not deemphasize its aesthetic its aesthetic deemphasize not does of art significance The political components). - aesthetic. The autonomous artwork artwork autonomous The aesthetic. and social autonomy: of senses related od in terms of isolation from the social but in critical terms. For him art art him For terms. in critical but social the from isolation of in terms od

For him, this pair (aesthetic autonomy and social fact) is a dialectical dialectical a is fact) social and autonomy (aesthetic pair this him, For

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TheodorAdorno,“Commitment”, Andrew in EikeArto and Ge , New York, 1982, pp. 300- Even if art and politics can mix, this does not mean that art is mixed with art always meannot that mix, does and this can ifEven politics art , is ,

not socially useful but it is still critical. It is still critical in Adorno’s sense sense Adorno’s in critical still is It critical. still is it but useful socially not . art” intoautonomous migrated critical art, persecuted asart it by is mainstream persecuted the art, critical ous art which criticizes the society, I don’t think that art is critical (and (and is critical art that think don’t I society, the criticizes which art ous , ” i.e.

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The Power The of Art Groys, Boris be itself can art where art of formalist case the Excepting autonomy. a relative just is “autonomy” case art’s In We can rescue the idea of art’s autonomy in such a manner that it would make the it wouldmake the that manner in a such autonomy idea art’s the of We rescue can autonomy asize or annihilate the other if mixed. the other annihilate or asize for re ” art . - 37 considering the traditional aesthetic categories and canons. Since we no no we Since canons. and categories aesthetic traditional the considering

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as the separateness of aesthetic concerns from political from political concerns aesthetic of separateness the words, other In 36 is not a problematic one and there is no need to be concerned that one one be that concerned needno is to there and one aproblematic not is ” (to use Gerald” (to Raunig’s words)

- art of both of them but it also all also it but them of both of , MIT, Press, 2008, p. 16.

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This confusion is due in part to the ongoing debate concerning the question of what is political. The 20 - world. In this sense art can be both political and autonomous. Moreover, this autonomy of of autonomy this Moreover, autonomous. and political both be can art sense this In world. .

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CEU eTD Collection 40 39 or antagonistic the be with coupled has to political of the definition of the part hegemony (political is the expression of relationspower and hegemony) it but is incomplete. The power” involving authority or dowith be“socialhavingemploy. something relationships The as defined to can political The “political”? called accurately then art such Is power. of relations that affirms only and relations ofin power anetwork is produced Art often issuehere. in at sense the art” label“political the ant the highlights category “critique” the art. multimedia contemporary to from and portraits Art classical Conceptual medi and technique specific any particular employ not it genre anddoes or style specific any belong not does to particular art Political found. be cannot exceptions mean that not does another or in category one others than better art some that fact The a stance. taking without events the chronicle or record merely category this from Artists Painting). Historical (like relations power portrays critique status the quo or support necessarily not does that art covers category Performance Sachlichkeit Neue Art, Conceptual Dada, others: than category pow ofstructures dominant the what injustices make the visible to artistic status and quo) attempts or economic, Art Pop extent some to and Art Advertisement art stylesmovements or seem to fitbetter in this category than others: Sociali (some moment of the power political the legitimates and supports category first The portrayal.

Available from: Beside its critique of Fine Arts art of the past, Pop Art supports consumerism and advertisement industry. The second category critiques and negates the the negates and critiques category second The Although all three categories are generally considered instances of political art, only art, political of instances considered generally are categories three all Although Art (but also many instances of ‘Outsider’ art and Art Brut art ‘Outsider’ of many also instances (but Art http://www.thefreedictionary.com/political

answer to this question depends on what understanding of the political we we political the understanding of on what depends this question to answer er tend to obscure (here too, some art movements seem to fit better in this in fitthis better seem to movements some art too, (here obscure to er tend

. 40

This understanding of “the political” is certainly correct correct is certainly “the political” of This understanding agonistic dimension of the political and thus deserves deserves thus and political the of dimension agonistic um. Political art pieces can range from Rococo to Rococo from range can pieces art Political um. 33 ). 39

status quo status , Realism, Social Realism, Realism, Social Realism, , of the moment (political, (political, moment the of

styles and movements fit fit movements and styles ). Finally, the third the Finally, ).

st Realism, Realism, st but only only but

CEU eTD Collection dimension. dimension. anti (critical, its antagonistic account into take if don’t we defined accurately (hegemony)power a 42 41 install have necessarily power to disarticulate to which attempt in political) the (inherent ar by counter counter by be questioned can which of all society, in authority and power of relations the of totality differs also but Mouffe’s, hegemony. criticize to negate or enough to configuration”. - re at aims it because desertion as conceived - disarticulate/re to in order hegemony existing of the aspect with acertain engages that one always ; other” destroy each to thought” legitimated authorized and accepted, official, the of place the by occupying whole as a society dominate to come society of section of a interests or values views, the which by process “t mean they hegemony By antagonism. and hegemony political: the in involved concepts key two are there argue, Laclau Ernesto and Mouffe as Chantal words, In other here. intended counter source: source:

ticulated” to replace the old one. I don’t think that the counter the that think don’t I one. old the replace to ticulated” Chantal Mouffe, On The Political Spaces”, Agonistic and Activism “Artistic Mouffe, Chantal http://www.artandresearch.org.uk/ Like Unlike - - hegemonic hegemoni 41

- and “antagonism” comes to mean “a we/they relation between mean relation “a to we/they comes “antagonism” and hegemonic practices which attempt to challenge and destabilize it. destabilize and challenge to attempt which hegemonic practices

Mouffe, I believe that the concept of the political incorporates both the idea of idea of both the incorporates political of the concept the believethat I Mouffe,

her, I don’t endorse the view that a new configuration of power has to be “re be- has to power of configuration new a that view the endorse don’t I her, 42 articulate its constitutive elements. It can It elements. constitutive its articulate

In other words, she is saying that in a properly political intervention, it is not not is it intervention, political properly a in that saying is she words, other In c

interventions. Every hegemonic order isinterventions. Every hegemonicbeing susceptible order of challenged struggle nd antagonism (resistance and denial of hegemony). It cannot be be cannot It hegemony). of denial and (resistance antagonism nd Mouffe adds that “a properly political intervention (antagonistic) is is (antagonistic) intervention political “a properly that adds Mouffe I would I definein respects. the political from hers certain as the

if we are to fruitfully account for what is political in the sense sense in the is political what for account fruitfully to if are we

, Routledge,, London v1n2/mouffe.html

My the understanding political of isinspiredby 34 -New York, 2005, p. 16.

(last accessed 17May 2013). Art andResearchArt articulating the situation in a new in new a situation the articulating

never be merely oppositional or or oppositional merely be never , Vol. 1, No. 2, Summer, 2007 Summer, 2, No. 1, Vol. ,

- hegemonic practices practices hegemonic

enemies who want want who enemies

- hegemonic) hegemonic) , he he

CEU eTD Collection 45 44 43 destabilize to order (in hegemony existing of the aspect with acertain involvement an and as hegemony also- but are framework, deterministic - of re expense intervention political properly a not further claims that: (a) c it within can) (obviously from questioned be cannot hegemony that not hegemony” form of so as installto another order existing the disarticulate to which willattempt practices ishegemonic order being susceptible ofby challenged counter values” artistic normative of formation the challenge “by marginalizationinvisibility grasping thetheir politics of and owninevitably they critique: political and economic, social, of by reasons informed is withdraw to choice Their worldart from“politicsinvisibility”hegemonic institutions. and the exodus perform their of consciouslychoose to work on themargins and in opposition with themainstream globalized self who artists those example, For has argued). Mouffe (as strategy effective and acceptable only the not this is that thing The from within. hegemony the question cannot critical art that infact both of th antagonism on than rather hegemony the on be will political the understanding in focus form of power bec acounter Once hegemony. form of another p. 4. p.

Chantal Mouffe, On The Political Spaces”, Agonistic and Activism “Artistic Mouffe, Chantal : DarkMatter Sholette, Gregory

I would define political art as art that deliberately sets out to oppose by criticism the bycriticismthe oppose to deliberately that setsout as art art political wouldI define If we follow Mouffe’s path, then we replace a form of hegemony with another and the another hegemonyform with a of then replace we path, followIf Mouffe’s we . . This critique can function both as a withdrawal and disengagement from power from power disengagement and withdrawal as a both function can critique This 45

iden em equally count in the understanding of the political. This does not mean innot emequallycount the understanding political. of does This the tification, i.e. we don’t only need a critique of what exists, trapped within a within a trapped exists, acritique of what onlyneed i.e. don’t we tification, omes part establishment. of the part omes ritical art as simply a manifestation of refusal or negation of power is is power negation of or refusal of manifestation as a simply ritical art Art and Politics in the Age of Enterprise Culture

, Routledge,, London

( “Too muchemphasis on dis imagining of what is possible” is what of imagining - hegemonic intervention is is transforme intervention hegemonic 35 -New York, 2005, p. 18.

Art andResearchArt . 43

My problem Mouffe’s with is account - identification happens at the the at happens identification , Vol. 1, No. 2, Summer 2007 . 2007 Summer 2, No. 1, Vol. ,

- hegemonic practices i.e. i.e. practices hegemonic , London, Pluto Press, 2011, ) 44 ,

, but with her two two her with but

and and d into a new new a into d (b )

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CEU eTD Collection problematic not only because misconstrues the understanding of “the political” but also also but political” “the of understanding the misconstrues because only not problematic hav I relations). these merely portraying isor in art produced which power of relations of the being affirmative (either relations these on merely reflect mean to not does relations in power intervene critically To intervention”. politic of definition common the in (as content” and message included). world art Western (the at hegemony of heart anyisthe directed critique URSS hegemony andits official art and to contrast it with th critique whenweChris their him?’ Burden need is ‘Where ask artists dissident Russian When the one. criticized the replace to hegemony new – perspective another of favor in hegemony) communist case this (in aperspective criticize not does political art that is this example theystarted to hole, the from out came eventually they When USSR. communist the in artists as condition atheir into microphoneabout andspoke inburied burial. the ground were artists The Skersis and MikhailRos another. of favor inview of criticizing point institutions a ofand being without power’s part without dissident artists of the totalitarian regimesha example, the For power. with another power hegemonic the replace to wanting necessarily within without institutionsmechanismsof power present domination these the of of aware makeothers the to manage they way this In it. of part be to refusing by hegemony the challenge power, of institutions mainstream in the involved not are who artists outsider the many is times because one, first over the form of critique second prioritize the don’t I reason the over critique form of second the likeMouffe, prioritize, don’t I hegemony). that This way put does understanding political of emphasis not art “political onart’s

For example the dissident artists from the former URSS (Gennady Donskoy, Viktor Viktor Donskoy, (Gennady URSS former the from artists dissident the example For

ask: ask: ‘Where is Chriswhenwe Burden him?’ need hal) criticized the communist power of the moment by performing a a performing by moment the of power communist the criticized hal) e to add that the common definition of political art is is art political of common the add definition that e to

which is “better” or it would be a candid be it would or “better” is which 36 ve criticized the power with their political art art political with their power the criticized ve

is not just meant to challenge the communist communist the challenge to meant just not is

e free art of the West. Their Their West. freeof the art e What I want to illustrate with illustrate want to I What al art) but on “critical “critical but on al art)

first. The The first. ate for a a for ate CEU eTD Collection 34, No. 8, November 2008, pp. 1191 46 apiece ofjust is non stake s at the not are relations power the (when form of entertainment as a and stake) at are relations power the (when expression political form of a as both seen be can domina of the interests the against of ethnicgroups and protest identification for the atool becomes origin of in country the purposes entertainment for solely to listened is that minority ethnic an performe is it which in context the on piece depends art of an dimension “political” The regimes). authoritarian in the (like archives and museumsin be preserved to permitted authorities the is whatever epochs past from the His Art of discipline the manipulates power political times many because enough always not is books History Art in described context The on. so and history personal and stylistic ofWar, Picasso’s Civil Spanish of the limited knowledge a have only politic is War Civil Spanish the with dealing art, Picasso’s of some that claim suitably cannot we instance, For historical one). art the than (larger context its general of knowledge rhythm, sounds, and performance. to (content), lyrics from range musical pieces some in political fact in are that elements the music: political mention would I example, individual an take briefly to Just one. only the not content art’s that stress to have itsform alsojust but I modes Atthiscontent point, its and dissemination. production andof intervention critical the that chapter in second the argue will only. I content it within art’s situates because Review of the Literature and a Theoretical Discussion on Music” on Discussion aTheoretical and Literature of the Review Jean

Salsa music, rap music and others examples of political music are discu -Michel Lafleur, “Ethnic Minorities’ Cultural and Artistic Practices as Forms of Political Expression: A nt groups from the country of settlement of country the from groups nt to detect To can be the organizing principle of the political art in all its aspects: not only its onlyits not in aspects: its all political art the of principle becan organizing the

- what extent a piece of art is political or non is or apiece political extent ofwhat art political entertainment). political

-1217. /message

d, exhibited or listened to. For listened exhibitedor example,d, to. music some of

isjust oneelement which can co

37 . 46

This example shows that the same art piece piece samethe art that shows This example , JournalEthnic, of andMigration Studies, ssed at large in Marco Martineiello and and Martineiello Marco in large at ssed tory, and the art that survives survives that art the and tory, - political need a good we ame piece of music music of piece ame unt as political but but political as unt alif we V ol.

CEU eTD Collection Science Journal Theoretical Excursus on the Concept of Political Art in Communism and its Aftermath”, in Romanian 47 (1 twofold: is art in political is what of question the address they when regimes totalitarian the to firstly refer scientists political and theorists art both why reason The either. fall their after stopped not has and, regimes political these before time long a existed it actually totalitarianism; in 20 first the only or appeared hasnot concerned politically is which wi I which severalfor reasons approach my for is unavoidable democracies) liberal in and totalitarianism (in comparatively art in political is what of issue the Tackling concerned). politically be to art for requirement official (where art of liberalization of aregime to “political”), be to expected was (all art control institutional ideologicaland the to were submitted allart where (almost) question the me address allows to comparison this of all, First Why comparison? this democracies. liberal in and in totalitarianism perspective: in acomparative art in and critical art propaganda politicalin propaganda art. and the art in critical political the between explain differences the to attempt I follows, In what degree). same the to and sense same the (in “political” equally are art propaganda (count art critical that think to mistake be a it would and sense minimal and isain deficient political propaganda art only have I suggested that propaganda art. - political distinguish to is chapter this of aim second the beginning, Democracies . 1.2 A larger and slightly different version of this section has been detailed in my study, Maria Alina Asavei, “A “A Asavei, Alina Maria in my study, detailed been has section of this version different slightly and A larger

Propaganda Art Political vs. - For the sake of clarit sake of the For at As stated political. art makes what clarify to attempted have I point this Until of the political in art in two antithetical political regimes: from a political regime regime political a from regimes: political antithetical in two art in political the of ) from a strict academic perspective, “politics and the arts” studies studies arts” the and “politics perspective, academic from astrict ) , vol. XI, no. 4, Bucharest, 2011, pp. 647 47

y, I propose to address the question of “the political” in in “the political” of question the address to y, propose I Critical Art:In Totalitarian Regimes in and Liberal ll discuss at large below. I have to mention that art art mention that have large I to below. at ll discuss 38 -660.

theoretically there is no no is there theoretically er - hegemonic art) and and art) hegemonic critical art from art critical has has th

developed developed

century’s century’s Political Political

the the CEU eTD Collection 48 regimes in totalitarian art dissident neutralized critique. form of the uniqueany party time, that at because for party unique the plainjust propaganda has been regimes totalitarian of art while the power), of mechanisms the of (critical political be truly can democracies marart no it because was market art the outside produced has been (it market art outside the produced pr the because inliberal democracies, produced art political any to compared is it if political, “truly” is regimes communist of art propaganda production all (including machine propaganda the that is stated It regimes. those of production art the focus on we when especially regimes, with totalitarian usually associated s political of subfield a as market market that politica be truly cannot condition) that confirms only that one the (as a p which power of mechanisms the of critique substantial a accomplish cannot it and commodity “spectacle” a predominantly is philosophers (like Boris G as well as regimes totalitarian in political it became degree that th important such an to art propaganda of importance political the emphasized regimes Totalitarian ny form of political art created under (neo) liberal capitalist democracies of Western world Western world of democracies liberal capitalist (neo) under created art formny of political

Art Power Art Groys, Boris

“Art becomes politically significant only when it is made be made is it when only significant politically becomes “Art ket under communistket rule). The second group of The group second The The – like art” propaganda theorists theorists

of of , Cambridge,, MIT Press, 2008, pp. 5-7. political art

cience only since 1980s onward 1980s since only cience roys and roys arts) for its purposes (to promote and legitimize the the legitimize and promote (to its purposes for arts)

theorists claim that, on the contrary, only art produced inli produced art only contrary, the on that, claim theorists

. 48

e only officially accepted art of those regimes. art of those accepted e only officially roduced it roduced and it. distributed By stating this, Groys explicitlyadmits that especially

Jean Baudrillard) claim that the art of liberal democracies democracies liberal of art the claim that Baudrillard) Jean

usually disagree on whether political art can be truly truly be can art political whether on disagree usually produced beyond or beyondoutsideproduced or inliberal of One democracies. contemporary group 39 opaganda art of communist regimes has been has been regimes art of communist opaganda

Finally the t the Finally

of totalitarian regimes used all cultural cultural all used regimes totalitarian of s,

and and Therefore, for these theorists, theorists, these for Therefore, (2) t hird group claimhird group

he idea of propaganda is yond or outside the art art the outside or yond l. Groys explicitly states states explicitly Groys l. the political power is is power political the

). status quo). s that s

beral beral only only

CEU eTD Collection 49 is it put art simply shortly,meaning. propaganda certainflexibility To itsin for deliberaroom leaving without view certain impose a to wants art of piece that (if propaganda label of the fall under hegemony to to in opposition created art happen that may it sometimes, that admit political genuine for room no leaves it (when in viewer the stance adeliberative for roomno leaves it when it but to opposition in or hegemony of behalf on work artists when necessarily not propaganda becomes with thi some extent to agree I propaganda. of rubric fall the under hegemonymayalso values of ideas ruling and opposition to in created art instance that for Some argue, here. discuss them don’t I but may appear art Ther be criticized. to wants hegemony that whatever However, message. has apolitical it and politics with isit concerned in that sense the art political with andnon not art with political is concerned research Dictionary) (Oxford of point view” or apolitical cause promote to used nature, 1.2.1 inway, vanishes. this worldaspect, and critical the art hegemonic the by institutionalized is dissent artistic of form Every quo. status by cultural the assimilated critique the because art) (critical be anymore truly cannot political art machine the risk (with beingforbidden ofThey in and censured). claimliberal that democracy propaganda regime’s of has the been critical art only that because political accurately

Oxford Dictionary: .

Propaganda Art vs. Political Critical Art in Totalitarian Re Propaganda is Propaganda typically tion and interpretation), typically art which opposes the hegemony has a a has hegemony the opposes which art typically interpretation), and tion http://oxforddictionaries.com/definition/english/propaganda itsmessage usually promotes the hegemony moment of critiques theor

usually

defined asdefined participation and Anyway, although deliberation). participation I “the “the s claim. When does art become propaganda? Art Art become propaganda? art When does claim. s information, especially of a biased or misleading misleading or biased a of especially information, 40 e are many guisesin which propaganda - art propagand art

gimes

(last accessed 13June 2013). a. Propaganda art is a isa art Propaganda a.

is always tamed and and is tamed always 49 .

Yet, my vulgäre vulgäre

CEU eTD Collection 50 censored or destroyed they knew, they when and existence its about knew barely officialdom The forbidden art. that magazinedistribute art artwould gallery No or invisible. practically was art “critical” regimes communist the during because this, about right they were an communism under seen never have they that and but alie art” “true it is because not notof art liketype they do that that added They political. its message because and power political the or party the served it because is political art) ( art “official” that said answers of the most political?” art this is “Why question: next the For leader. charismatic and as a hero national a asleader the often, more of course, of art propaganda was the politicalart answer was that unanimous inThe (almost) art. interest professional really not are people who to hasbeen addressed this question that for? have acknowledge stand I to art” “political European have Eastern I asked a smallexperiment. out have carried I regimes communist the under lived that by those art” “political to commonly given meaning cont and message political with art is art (“political art” “political of minimal sense and defective first only the consider to tended public art untrained the also but critics) art curators, (artists, business art from the those have only not but countries communist former from the people (especially “political” is disregarded. totally artist/audience of the stance deliberative which the enforced an is politics Its above. from controlled and above from imposed been in or the production leave room not does art propaganda In totalitarianism, understanding. and appreciation Tendenzkunst implications of the commonly held view of political art as the s official case a specific art ofnor art, the communist of political regime.understanding

The intentionof this researchisto make neithercross a At the level of common thinking, many people tend to consider levelmany onlyAt the art people tend to propaganda commonthinking, of

(‘vulgar tendentious art’) and doesn’t leave the possibility for flexibility in itin flexibility for leavepossibility the and doesn’t art’) tendentious (‘vulgar

communist and Nazi regimes, art that depicted happy miners, peasants and, and, peasants miners, happy depicted that art regimes, Nazi and communist in the in connoisseurs

reception because its politics, commitments and meanings have have and meanings its because commitments politics, reception

in art business, in the sense that they don’t have a a have don’t they that sense the in business, art in tudy. The goal is to critically discuss the normative 41 -country comparison regarding East European citizens’ y art work that criticized the regime. And And regime. the criticized that work art y ent”). In order to understand what is the the is what understand to order In ent”). 50

citizens: what does does what citizens: only them). Not Not them). only

propaganda politics in in politics

either

was was s

CEU eTD Collection the regarding demands emphasize any specific didnot They beto of political. all art content only the requiredthat power communist is the point that important Another power. and that reinforce of t pressure the under be official to exclusively was considered art Political regimes. inart totalitarian in “political” the grasped have way the people this was because with hegemony complicitous for a definition (eitherfor art or for politics). They und struggle don’t they because mix) cannot and politics art claim that who theorists, and critics co former non among the art political of understanding unidirectional the illustrate to in order above examples the introduced have I artist. the imprisoned and piece the its art canon, and purely aesthetic art). and canon, purely aesthetic its art regimethe and to wasconfrontational directly both as art that in context this isart understood (the “unofficial” political as art unofficial the see not did Realism Socialist of ideologues The only the been has Realism Socialist view, this In 1930. with starting satellites R “Socialist denote eminently political a perform re communist in art of canon official the been non its ofbecause sense precisely in robust the mainlyopposition art, while unofficial stance, the committed because precisely sense, deficient a in only political is regimes totalitarian “political”. They don’t find the concept of “political art” a contradiction in terms (as some art art some (as in terms acontradiction art” “political of find concept the don’t They In what follows I will argue, contrary to common opinion, that the official art of of art official the that opinion, common to contrary argue, will I follows In what

mmunist regimes. mmunist political art. The communist ideologues used the formula “political art” in order into order art” “political formula the used ideologues The communist art. political

form. In other words, art can have any form or style, as long as the content was was content the as long as style, or form any have can art words, other In form. ealism”, the official canon of all art adopted in the Soviet Union and in its its in and Union Soviet in the adopted art all of canon official the ealism”, function, and for this reason Socialist Realist art has been has art Realist Socialist reason this for and function, he political regime of the moment and which was meant only to to only meant was which and moment the of regime political he

42 required that all arts all arts that required Realism Socialist gimes. - imposed commitment. Socialist Realism has has Realism Socialist commitment. imposed erstand political art as that art which is is art which as that art political erstand - critical art, is truthfully political political truthfully is art, critical - professional art public professional art

of its forcefully forcefully its of

“political art”. art”. “political

art, produced labelled

from from

the the CEU eTD Collection Literature politics” 53 52 51 party’s asingle through explained be could regime atotalitarian field under art the aim” of singleness and ideas, of singleness aspirations, of “singleness a to reduced are artists the and (propaganda) information ideological of asource to is reduced art political nutshell, a In content”. or message political a having “not hegemony for communist meant enough” political “not Being enough. “political” not were they because and negligible masses was to appeal their because productions of these even disapproved party communist quo status by the imposed canon the respect only understood still is art political countries, communist former in the thinking, common of level the at fall communism, the of long after why, is reasons of Maybe the one this art. propaganda be guided writers, and in affairs literary leaders as both comrades our We that demand (…) Committee Central and the government the of business the is politics that think “artists art: political a create to and values communist the “devil “non Creating non- and “empty writing with charged was who Akhmatova, Anna poetess the censured life”. also They Soviet on parodies vulgar and “degenerate of writing accused Zoshchenko, Mikhail satirist of the writings the condemned officials party’s Union, as regime

(May, 1966), p. 265.

Problems of Soviet Soviet of Problems in Art”, Proletarian of Tasks the and Literature World “Contemporary Radek, Karl Gazeta, Literaturnaia The Modern Language Realism”, Journal, Socialist on Debate Great “The Demaitre, Ann

as the official/propaganda art of the communist regimes. communist art of the as the official/propaganda - may Nonetheless, Igor Nonetheless, In spite of this many requirement, of produced during art works dictatorship did not These art practices of opposition and critique of the status the quo of critique and opposition of practices These art . , Vol., 35, New York, 1948, p. 9. 52 “degenerate” art practices but not as “political”. For example, in the former Soviet Soviet former in the example, For as “political”. not but practices art “degenerate”

- duty was to disseminate to was duty artist’s The indifference”. “ideological and attitude” care As these examples show, political art hasbeen identified exclusively with - political” art was seen by the communist party as the artist’s big fault, as a a as fault, big artist’s the as party communist by the seen was art political”

September 21, 1946, p. 83 (my translation from Russian).

Golomstock is right when he argues that not everything created in created everything not that argues he when is right Golomstock

43 without being critical in an overt sense. The sense. The in being overt an critical without by the vital force of the Soviet order – order Soviet of the force vitalby the

were considered by the by the considered were . 53 political

Vol. 50, No. 5 5 No. 50, Vol. poetry” . its its 51

CEU eTD Collection Republic of China, Collins Harvill, London, 1991. 56 http://www.amielandmelburn.org.uk/collections/mt/pdf/80_06_22.pdf 55 54 may say work the for what no room andfor debate for deliberative thinking, no room leavesstance polyvalent as long as it isreduced not propaganda”to politically “remains arts in commitment motivated politically that claims Adorno token same h the what on focuses merely which commitment be can approached” aspects these which all in ways hundred the of some find to “then and artwork the of focus as the political reality the and social reality take means to its best, at commitment artistic an posits, Williams As flexibility. no has politics propaganda’s while polyvalent, politically remains piece di is commitment their but reality on reflection political the to committed are art critical and art propaganda Both deliberation. political agenuine for needed faculties the of possession in being apolitical as viewer the to appeals a in only political not is regimes communist of art critical art, propaganda indirectly the officialinterpretation production, opposed canon of Unlike art and distribution. strategie thisits way preserving c which and art in propagandait,that the art politics which underlines criticized and opposed i means regime political in atotalitarian art “Autonomous” politics. cultural of field contemporary their from themselves differentiated artists which by strategy political official, monopoly (eds.),

Theodor Adorno, “Commitment”, in in “Commitment”, Adorno, Theodor Raymond Williams, “The Writer: Commitment and Alignment” in Igor Golomstock,

New York: Continuum, 1982 Thus, unofficial, critical works of art manifested their politics through various various through politics their manifested art of works critical unofficial, Thus,

s of opposition: from the overtly anti overtly the from opposition: of s propaganda art. In the case of communist art, “autonomous” productions have been a a beenhave productions “autonomous” art, In communist case of the art. propaganda because because meaningthe is imposed from above. . 54

Not all art works that have been created during totalitarianism can be defined as be as defined can during totalitarianism have created works been that allNot art Totaliatarian Art in the Soviet Union, the Third Reich, Fascist Italy and the People’s ritical and political autonomy. political and ritical

, pp. 300- Essential Frankfurt School Reader 319.

44 - fferent. The commitment to create a critical art acritical create art to The commitment fferent. hegemony critique to the ways in which they they which in ways the to critique hegemony 55 . By the the By demands. moment the of egemony A

. t its it worst, couldt beimposed an

Propaganda art’s imposed committed imposed committed art’s Propaganda Marxism Today Marxism

(last accessed: 5 August(last accessed:5 2013). , Andrew Arto and Eike Gebhardt Gebhardt Eike and Arto Andrew , , source: source: , n overt sense but it it but sense n overt n my approach my approach n

CEU eTD Collection accessed 7May 2012). 57 the of institutions by the overlooked are and which market, art dominating the outside made anti international the of context the in functioning 1.2.2 character its own on explicitly reflect it tries to that means (“which become critical to is democracy audience the broaden to order in lyrics controversial any removing genre, mainstream a becoming strugglefor some music politicalbetween remaining form partly a music of protest and a is always There censored. and exchanged circulated, is produced, that t aproduc becomes it market capitalist the music enters the Once industry. music of the system complex the – political that example, for hold, Lafleur by capi the neutralized automatically is critique of form any because totalitarianism, fall of the after power critical its lost has questioned the neo on. so and Museum Brooklyn the in shown being art critical of disapproved bannedmostin parts of the United States; the mayor of New York City, Rudolf Giuliani been have Abu paintings Gahraib of series Botero’s example, For ones. liberal democratic also but the art critical have censured regimes only Not totalitarian regimes. inboth censured status quo. the unsettles typically which intervention hegemonic

Boris Groys, “Art after Communism”, available from: - liberal hegemony exactly as the oppositional art oppositional the as exactly hegemony liberal . Political. - Political Contemporary political artists from liberal democratic regimes strive to question the question the to strive regimes democratic liberal from artists political Contemporary . Boris Groys also argues that the only way for art to become political under liberal liberal under become political to art for only way the that argues also Boris Groys . - as - commodity”

Nazi and Communist authority ( authority Communist and Nazi - Critical Art in Liberal Democracies critical art of both totalitarianism and liberal democratic regimes is a counter is regimes democratic liberal and totalitarianism of both art critical

). 57

and posters and posters videos Islamist he that argues By token, same the

talist system). Marco Martiniello and Jean critical music loses its political stance once it enters it once enters stance losesits music political critical 45 http://www.unitednationsplaza.org/event/22/ in spite of so many voices claiming that art art that claiming manyvoices so ofin spite - globalist movement are political creations creations political are movement globalist

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A very interesting phenomenon, known as the “institutionalization of of “institutionalization the as known phenomenon, interesting very A - , Cambridge,, MIT Press, 2008, p. 9. underground art type), in liberal democracies critical liberal democracies in type), art underground - Marxists) to hold the view that capitalism can mobilize to transform transform mobilize to can capitalism that view hold to the Marxists) iolence may remain in some contexts a powerful tool for Afro for tool powerful a contexts some in remain may iolence

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approach to to approach purpose (or purpose hing and a a and hing ) and and ) mal mal CEU eTD Collection accessed: 5August 2013). Aesthetics Britishof Journal Nature”, Inorganic about Formalism of Extreme Defense “In Zangwill, (Nick context” lives, in which our aesthetic thought and experformalismience isindependent in complaining of our knowledgeof vociferously thing’s a history and that anti-formalism misses out on an important point of our aesthetic 66 65 been Wehave aesthetic. as the counts what firstlyexplained be it has to my arguments, forth poli willaccommodate which aesthetic the of understanding - non cognitively (a formal of concept the take which contemporary) and traditional (both theories those with issue take will I art). of approaches aesthetic it (purist of part but only a tradition aesthetic entire the criticizing the fact that itis art) of awareness certain a with and history or context certain of a part as experienced is piece art “conceptual to as opposed “sensibility” meretricious”non or art) (“aesthetically inferior/bad considered be would and potential aesthetic with credited be not would kind, certain a of a pleasure us afford not do which pieces many art because is exclusionary It be rejected. to needs and narrow and exclusionary indeed, is, aesthetic al (betrayed of art” paradigm aesthetic “the many theorists by considered is art) erroneously to approach aesthetic t called attitude (esp aestheticians formalist contemporary Prall); Fried, Greenberg, Gurney, Hanslick, Fry, (Bell, tradition formalist modernist fromboth the aestheticians, formalist the are aesthetic of the understanding this of popularity visible/perceivableelements of a piece,independent of their

The contemporary aesthetician Nick Zangwill argues: “A moderate formalism joins forces with extreme extreme with forces joins formalism moderate “A argues: Zangwill Nick aesthetician contemporary The This definition of can ‘form’ be consulted in: What I hope to demonstrate in this chapter is a revision and an enlargement of the of the enlargement an and revision is a chapter in this demonstrate to hope I What acknowledge to have I disclaimer: final One , Vol. 4 Vol. , the aesthetic 5, No. 2, April, 2005, p. 186). heories (Stolnitz and Bullough). and heories (Stolnitz so by the 20 the by so . 66

In this chapter I will argue for the later and against the former. the andlater against willfor I the In argue this chapter

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(last (last - CEU eTD Collection (Martin Seel, “Aesthetics of Appearing”, Stanford University Press, 2005, p. 12). p. 2005, Press, University Stanford of Appearing”, “Aesthetics Seel, (Martin si and momentarily appear they to how in respect events and “things apprehending to amounts experience aesthetic an consequence in objects; aesthetic of all property shared crucial the 67 whichnon to according aesthetic the of arevisedunderstanding for need The political. the to as detrimental finds aesthetic the and second the aesthetic the to detrimental between incompatibility) - political of mixing the of critics meanin traditional its highlight of t concept the on willfocus I chapter, this section of first In the with it) of versions purist the (in identified been has aesthetic The meaning. of aesthetics the the gap can be o and aesthetic the art political between - non By accepting art. radical and conceptual political, accommodates Shelley) by James envisaged Brillo Boxes the (after enlargement and redefinition substantial undergone has recently “the aesthetic” clear that propertie is that aesthetic, of the concept . aesthetic of the idea tradit aesthetic philosophical the of version by acertain aesthetic as established the rely asense of upon more to accustomed the the non (seen as content political counter devaluated aesthetically this view,

For instance, Martin Seel argues that t that argues Seel Martin instance, For politicalfind can formal, through expression means aesthetic too. perceptual properties as aesthetic properties in art appreciation and experiencing, the gap experiencing, and appreciation in art properties aesthetic as properties perceptual In order In defendto order have firstly I this position, to explain wh between the aesthetic and political and aesthetic the between s of art are still aesthetic properties will be the focus of the third section. It is quite is quite It section. third the focus of be the will properties still aesthetic are art s of form

would be seen as the depoliticized structure of art while content is the is the while content of art structure depoliticized wouldbe the seen as 67

). This enlargement of the concept of the aestheti of the concept the of enlargement This ). Another tenet we are familiar with, closely connected with the (purist) (purist) with the connected closely with, familiar are we tenet Another the the -

aesthe aesthetic art) and pure (or aesthetic) fo aesthetic) and pure (or art) aesthetic form gs. In the second section second In the gs. ion.According to this tradition, the sensuous - critical art and the aesthetic who find that there agap is find that who aesthetic the and art critical he aesthetic should begin with a concept of ‘appearing’ [Erscheinen to circumvent the dichotomy between between part dichotomy the ofit. I attempt circumvent to

tic and political art political and tic of an object is paramount to its aesthetic appreciation. its to aesthetic paramount is of object an - critical art by considering the aesthetics of form as as form of aesthetics the by considering art critical 53 . vercome .

bridging bridging for argues also four Section The first findsThe group as political art I will discuss the two categories of of categories two the willdiscuss I

he aesthetic attempting to to attempting he aesthetic at counts as the aesthetic. as aesthetic. the counts at multaneously to our senses” senses” our to multaneously

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CEU eTD Collection ‘aesthetic’ is is ‘aesthetic’ the of concept the that argued have philosophers contemporary Some polysemic. and vague is term “formal”. However, therenoencompassing is all definitionof the conceptof the aesthetic because the http://plato.stanford.edu/entries/aesthetic 70 69 68 of aestheticians the Generally, apprehending. in art is relevant that experience or perception the to participate above mentioned elements the all words, other In aesthetic. the of understanding the to as central value aesthetic and experience aesthetic attitude, aesthetic judgments, kind ofv “athings, a kind kind object, of judgment, a kind of a kind of attitude, of experience, anda has aesthetic of the concept the century, 18th the 2.1. The Aesthetic aesthetic. meaning.issection This form, arguesmeaningful that also and political w formalthe asp Dickie, “The Myth of the Aesthetic Atti Aesthetic of Myth the “The Dickie, nohow answer single concerning should the term be used contestedis termavoided.As Nick Zangwillout, “the points aesthetic”is de a philosophicalenvironments even (and, sometimes,within environments) these of usage the this usedhave certain a which to understanding pronouncement. In twolast the centuriesthis sentencewould not be acceptable because “the aesthetic”

James Shelley, “The Concept of the Aesthetic”, Stanford Encyclopedia of Philosophy Aesthetic”, of the Concept “The Shelley, James 78. p. 1998, Publishers, Blackwell Aesthetic”, of the Concept “The Zangwill, Nick Attitude”, Aesthetic the and “Appearance Cohen, Marshall Onemajor theoretical tendencyexplains the aesthetic as a specialmode ofsensory Often, referring to something as “aesthetic” is to refer to it as “beautiful”, “tasteful” or

alue” vacuous and indefinable and ought to be purged from philosophy of art of philosophy from purged be to ought and indefinable and vacuous . ect of the work. Political art is usually defined as a matter of content and and of content matter as a is defined usually art Political work. of the ect 70

understanding of the aesthetic. of the understanding That is why aestheticians are used to talk about aesthetic objects, aesthetic aesthetic aesthetic objects, to talk about used are isThat aestheticians why

tude”, tude”, -concept/ American Philosophical Quarterly , for many theorists,no for is, longerBorn acceptable.

(last accessed 5August 2013). 54

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Vol. 1, No. 1, 1964, pp. 56-65.

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The definition of ‘form’ can be found in: Stanford Encyclopedia of Philosophy Aesthetic”, of the Concept “The Shelley, James Though Kant followed the British in applying the term “disinterested” strictly to pleasures, its migratio art aesthetic) but with the aesthetic in relationship with art. The line of reasoning widely widely line of reasoning The art. with in relationship aesthetic with the but aesthetic) art However, my concern here is not with the aesthetic in general (since we might find find might we (since in general aesthetic with the not ishere my concern However,

). 71 aest

As James Shelley points out, “much of the history of more recent recent more of history the of “much out, points Shelley James As hetic) is still a starting point for same contemporary theorists in in theorists contemporary same for point starting is a hetic) still

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For example Robert McGregor distinguishes the aesthetic the D distinguishes McGregor Robert example For Anywhere or Not Osborne, at All:Peter Philosophy of Contemporary Art Nick Zangw Stanford Encyclopedia of Philosophy Aesthetic”, of the Concept “The Shelley, James - Yet, even if we assume that the aesthetic has several meanings has several aesthetic the that assume evenif we Yet, t that complain theorists art Many ontological conception of art: “the analysis of a given work will need to treat the the willtreat to need “theof agiven work analysis art: of conception ontological

Why is this so? First of all, the concept of the aesthetic has several meanings, being being meanings, has several aesthetic of the concept the of all, First so? isWhy this art) cultural forms” cultural art) Even if many times there is “no rigorous separation between aesthetics in a in a aesthetics between separation “no is rigorous there ifEven many times ill, “The Concept of the Aesthetic”, Blackwell Publishers, 1998, p. 78.

veral different meaningsmeaningveral this andthe different usesmay whichthat obscure term Should we retain it or dispense with it?” with dispense or it retain we Should ence. On the other hand, the aesthetic the C hand, other On the ence. cialist sense, and general discussions of period sensibility”, wecannot a philosop , Vol. 32, No. 4, 1974 4, No. 32, Vol. ,

As Osborne notes, the aesthetic is a necessary dimension of the the of dimension necessary a is aesthetic the notes, As Osborne hical sense, and in general discussions of a historically specific specific historically a of discussions in general and hical sense,

-concept/ The Journal of of Journal The Aesthetic”, the and “Art McGregor, Robert See t. he concept of “the aesthetic is inhis aesthetic of “the he concept , p. 549 p. ,

(last accessed 5August 2013). 56

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Kendall Walton, “Aesthetics – “Aesthetics Walton, Kendall Without the ambition of offering a complete, all encompassing and everlasting everlasting and all encompassing complete, a offering of ambition the Without f the aesthetic, let me suggest the following: the aesthetic in art is in of art akind aesthetic the following: let methe f suggest aesthetic, the ton). I find understand how webecause I a can bit remark don’t perplexing I this ton).

What? Why? And Wherefore?” in Journal in of Aesthetics Wherefore?” and Art Criticism Why? And What?

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r meanings, and sure the term ‘aesthetic’ has changed its meaning over the past two two past the over meaning its has changed ‘aesthetic’ term the sure and meanings, r mean etymologically terms let’s two the see what First, rchangeably. aesthetic one) is not an acceptable solution for me because this would mean that political political mean that would this mebecause for solution annot acceptable is one) aesthetic Another issue I need to address at this point is t this at point address need issueI to Another On the one hand, t hand, one the On the on detail firstly will I objection, this regarding my position offering Before etermined by our previous knowledge, understanding and so on. The immediacy of immediacy The on. of so understanding and previous knowledge, by our etermined http://www.eurosa.org/20 - 79 art

istic itself and then I will answer to this possible objection. In the the In objection. possible this to answer will I then and itself istic - pre history, like: theories, factors exterior by art uninformed (as he concept of the “aesthetic” is seen as the more generic term (it is is (it term generic more seenis as the “aesthetic” of the he concept

11/huddleston.pdf 58 - views bearit.history bring upon to and we .

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g to do with g to - CEU eTD Collection aestheticians support this view. so on. and art in presented ideas of the relevance and force the execution, of mastery of values artistic the are properties artistic these to ted rela Closely perceivable). directly not are which piece examples of artistic properties of art are: witty, originality, authenticity (and in general, the propertiesto other artworks of the likart referring (artworks properties referential to and peace”) symbolizes branch olive the carrying (“Dove properties separate/distinctfrom aes Quarterly 84 83 82 81 artistic t which are there to according appreciation” is in artwork features an perceptible non denote to use “artistic” to termthey valuesthe tend art of or properties artistic and aesthetic the between distinction the talk of art of when philosophers Yet, art. aesthetic the and artistic between distinguish even don’t them of some and ways different in concepts these explain and use theorists The not. or things different denote they if or terms denote two these what on consensus no is There concepts. these of sense making the and emerged as a response to an alienating division of AsRay artisan. and artist between time that at this of exercises were term) the of understanding (in original the of art” “Works craft. and skill, persist. perception) (sensory aesthetic ofmeaning the initial of the vestiges Yet, arts”. beauty or Experience,

Malcolm Budd, Stephen Davies, Bohdan Dziemidok, David Best, Cain Todd and many other contemporary ‘ Budd, Malcolm See For some theorists like S. Davies an artistic propertyor value refers to relational properties, symbolic of (Non Myth “The Lopes’s, McIver Dominic example for See used at least in two senses: (a) i (a) senses: in two least at used ars ).

This etymological meaning of the aesthetic and artistic is no longer onlyis the way no artistic and aesthetic ofmeaning the This etymological hand other the On labour (cups and swords were as much art as poems and paintings). There was no distinction distinction was no There as poemsmuch as paintings). and art were and swords (cups , Vol. 61, 244, pp. 518- 536. Lopes claims that there is no characteristic artistic value which is 84

Routledge, New 2008, York, p. 20. This distinction between aesthetic and artistic properties of art carries with it the it the carries with art of properties artistic and aesthetic between This distinction 83

of the artisan). the of

(beside the no the (beside e Duchamp’s ‘Mona Lisa with moustache’ referring to DaVinci’s Mona Lisa). Other Aesthetic Essence’, in Richard Shusterman and Adele Tomlin (eds.), thetic value. thetic

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59 mond William stresses, the term ‘aesthetic’ has has ‘aesthetic’ term the stresses, William mond he aesthetic”, it has to be noted that beitthis has term noted that to aesthetic”, he labour -Aesthetic) Artistic Value” in Philosophical

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value of of value directly directly

of of CEU eTD Collection No. 3, 2004, p. 20. edition (January 27), 2009 87 86 85 it. side step to difficult not isit then grounds, made these on is objection the If values). aesthetic positive lacks typically (it grace beauty or charm, lacking visually not is appealing, art of type this because value aesthetic lacks typically art political art still o coexistence of the opponent the for that suppose I question. this ask would opponent an why explain firstly me political that concede simply can I view when of point aesthetic from an art political treat have to I why asking . artworks” of nature the determining the to value and contribute of aesthetic ). work” the of surface’ ‘sensory the constitute they depend only perceptual uponthose properties, such as colour that sense the (“in formal properties are art of properties” “aesthetic call we what aesthetic, of the interpretation narrow this to According aesthetic properties. not are perceptually Davis and things” other to stands it which in relations ofvirtue in the possesses only the work are properties since they understand the work, to required stock cognitive the has who someone by even itself, work the to exclusively detected or be directly perceived they cannot that such are properties, aesthetic unlike artistic properties, that beit agreed would perhaps “But in them way: same the ever not acknowledges, Budd as Malcolm But, value. artistic and aesthetic between distinction Experience

Nicholas Bunnin and Jiyuan Yu (eds.), Journal of Aesthetic 38, Aesthetic”, EducationVol. , the of a Theory as Formalism “Moderate Parsons, Glen ‘ Budd, Malcolm See yone that accepts the distinction between artistic and aesthetic properties understands understands properties aesthetic and artistic between distinction the accepts that yone ) for several different reasons. several for ) different an opponent may mention against my account (by (by account my against mention may opponent an objection the back will to I go Now, , Routledge, New 2008, York, p. 20. - non experienced are which properties those words, other In . Cain Todd

Aesthetic Essence’, in Richard Shusterman and Adele Tomlin (eds.), f the aesthetic and political art, the latter islatter non the a art, political f and aesthetic the - . critical art has an artistic dimension/value but not an aesthetic one). Let Let one). an aesthetic not but dimension/value has artistic an art critical

Blackwell Dictionary of Western

ne of these reasons might be that for this opponent, opponent, this for that be might reasons these of ne . 85

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by attending by attending CEU eTD Collection Art Criticism 89 http://logica.ugent.be/philosophica/fulltexts/36 88 valuable. emotio and cognitive (perceptual, piece art with the involvement fullis a experience me, aesthetic For surface. perceivable artwork’s constitute which properties those of experience sensual is a art of experience th understand we way the in lies us between . valuation” aesthetic criterion of, important most and for the condition necessary “the basis of, the is experience evaluat cannot we this experience, without and, experience aesthetic to conduct can which properties aesthetic of possess type the not does art critical experience). aesthetic to conducive seem does art political (because p not is experience aesthetic the case art’s in political that assumes /she he be that everyday” of nightmare the from removed our indif mayarouse former whereas the us, attract also may world of the aspect latter the ugliness; and beauty both by fascinated be can we For latter. the ugliness to or expressiveness and former the beauty to harmony or ascribe cannot world as arousingfear our and rebellion, of the aspect hostile unfriendly, the disclose “that values: still aesthetic are these out, points o aspect negative the disclose values that many aesthetic infact novelty the no is There be positive. always not need of appreciation art our but properties) aesthetic positive traditional other or be exclusivel can values aesthetic the

Bohdan Dziemidok, “Artistic Formalism: Its Achievements and Weaknesses”, The Journal of Aesthetics and Philosophica Values’, Aesthetic and ‘Artistic Golaszewska, Maria Often, political artworks’ properties can't simply/directly be perce be simply/directly can't properties artworks’ political Often, might art political of value aesthetic the question to opponent the for reason Another f the world, and this fact does not make them less aesthetic. As Maria Golaszewska Golaszewska As Maria less aesthetic. make not does them fact and f this world, the

For the appreciation of many of them, some knowledge about the object of of object the about knowledge some many them, of of appreciation the For , Vol. 51, No. 2, 1993, p. 188. p. 1993, 2, No. 51, Vol. , 89

Both my opponent and I agree with this contention. The difference difference The contention. this with agree I and opponent my Both

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(last accessed 5August 2013).

61 is experience. For the opponent, aesthetic aesthetic opponent, the For experience. is ference as being too perfect, too far far too perfect, being too as ference 36(2),1985,25- pp. e it aesthetically. Aesthetic e it Aesthetic aesthetically.

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42, available online at ived as aesthetically aesthetically as ived s he adds that “we “we that adds he ossible ossible

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62 rmance artist Oleg Kulik, Kulik, Oleg artist rmance this larger context does not make the make the not does context larger this ws” from his- cage thetic experience of this sort. of this experience thetic - political piece “I bite kes me” by Joseph by me” Joseph kes like room (on in in perceivable perceivable 1997): t 1997): owledge ically. he he

CEU eTD Collection 90 as art. evaluation their for condition important an is this nonetheless but appreciation aesthetic considerable or little afford can They appreciation. of aesthetic objects the are as they insofar only art as valuable b art fact in are “art” called are which pieces allpolitical not perhaps, Then, art. as thing that of appreciation expected an with do to nothing has “politics” Amere political gestureis notyet “art”if the ensemble offormal choices embody to that anti (or art with do to nothing has something if that even “art”, label the with something baptizes institution art acertain that happen th case the sometimes maybe It interact. piece a of functions political and experience aesthetic the that way a such understanding of of aesthet understanding narrow a on rely not should we means that mean? This this does What of perception. conditions determined historically aesthetic. not but is artistic art political that conclude not should we allow experience, not does a“pure” aesthetic if art Even political music). absolute of case in the (as experience aesthetic ‘pure’ allowa not does art) (political The experience. ( moves us that experience an is also experience aesthetic An forms. art through expressed idea “sensually grasping also but just an perceiving” whatwhat is there out (in mindabout and the object) is our in emotionally

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CEU eTD Collection 91 follows. issuein will I what this tackle status. tic aesthe their regarding disagreement is agreat there afew examples) just name daring (to or wit powerful, scariness, case of the in properties, aesthetic they are that agree to tend theorists the sublime beauty or case of the beauty a to work’s the response daring or courage, wit, scariness, work’s the to aresponse is either reaction This political reaction. some provoke political to critica Political art. political appreciate meantruly to not it does of experience ‘pure’ a having of sake the for just itself work the to exclusively Attending properties). aesthetic perceptual of t concept the enlarge (if we properties aesthetic fact in are properties aesthetic not but perspective narrow in this artistic considered are which some as I properties will show, However, art history theory). and or to - non on depend which properties those denotes artistic while itself work the to exclusively attending is which immediatelythat most popular) to refers is which the also understan narrow a (in aesthetic the now and meaning their time over terms changed mean terms etymologically two these what consideration

Artistic ( l art is art with a political function. This means that political art is specifically intended intended specifically is art political that means This function. political a with art is l art To sumTo up, perceptible features of the work (like artwork’s relation (like artwork’s work of the features perceptible ) =ars technique, craft, skill and Aesthetic = sense perception (in general). political art has both aesthetic and artistic properties/values (if we take into into take we (if properties/values artistic and aesthetic both has art political

he aesthetic and aesthetic experience by making room for non for room making by experience aesthetic and he aesthetic 64 ). 91

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ding - - CEU eTD Collection 92 pieties the in mired so art…art art…failed t minded”; single and solemn ( Chicago Judy of piece critical feminist the example, fo criticized, He value. aesthetic the deemphasizes significance exactlythis but significance social have can art political that has stressed repeatedly Kramer Hilton experience: theo Other art. ‘ This effective irresponsible, or responsible and editorializing exposé even commentary, social for vehicle be a should perhaps can and art doubt “No that holds Kuspit Donald instance, for in art: aesthetic the and political of detractors: with category first the Let’s start art. political and aesthetic of the of the coexistence of detractors categories least at two are There for arguing Before aesthetically. experienced and be can apprehended art Political contrary. the suggest to attempt one next the and This section form the perceive we when us to happens which kind aspecial of experience d has to aesthetic while the power justice or of problems with deals art (because political art of dimension aesthetic undermines the art and politics of coexistence politi Aesthetic” Too is “This . 2.2 debated Donald Kuspit, “Activist Art and the Moral Imperative”, New Art Examiner

The Gap between the Aesthetic andPolitical in the Aesthetic Gap between The cal fundamental way’fundamental (1) en and betwe be aesthetic the agap to appears there mentioned, already have As I - -

critical art. Some art theorists hold that political art is not proper art because the artthe because proper is not political art hold that Sometheorists art art. critical but the question is whether it does not compromise art in some fundamental way” fundamental some in art compromise not does it whether is question the but

question the co the question theorists art and critics art Some contemporary rists express their worries that political art is not conducive to aesthetic aesthetic to conducive not is art political that worries their express rists

that Kuspit points to but does not name is the aesthetic the is name not does but to points Kuspit that

his political art piece is, in Kramer’s opinion, “very bad bad “very opinion, Kramer’s in is, piece art his political

or ineffective such disclosure and advocacy are must be be must are advocacy and disclosure such ineffective or

65 of a cause that it quite fai it quite that a cause of

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In the previous chapter I have discussed at large the underlying assumptions on the basis of which these these of which basis the on assumptions underlying the large at I discussed have chapter previous the In Hilton Kramer, “Art: Judy Chicago's Dinner Part . of. the first chapter). 1.1.2 section - work as an end in itself or of a mode of experience with which it isitworkmode ofwhich with itself asassoin experience a of an end or In this understanding, there are two modes In of thisare there two understanding, experiencing something: the

against the co the against

emporary art theorists and critics are still steeped in a high modernist way of of way modernist high in a still steeped are critics and theorists art emporary . 94

- existence of political art and the aesthetic assume that the aesthetic aesthetic the that assume aesthetic the and art political of existence

the other. They assume that in wh apiece assume that They other. the 93

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66 art as aself art cal significance if it is mixed with politics but but politics with mixed is if it significance cal thetic experience) and the everyday mode of mode of everyday the and experience) thetic - aesthetic experience. These criticisms criticisms These experience. aesthetic - enclosing and separate entity, still still entity, separate and enclosing utonomist views are discussed views discussed are utonomist ich is politically politically is ich

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Matilde Carassco Barranco, “The Dogma ofPost Dogma “The Barranco, Carassco Matilde the attacked art Conceptual ‘60s. the in prominent become that theory and practice an art is art Conceptual a - political stance directed against art’s comm art’s against directed stance political the political demanding (2) - critical art is solely a content oriented art, where the message or subjectthe message or where the art, oriented is acontent solely art critical th

count of art. It has to be noted that these critics erroneously assume that that assume erroneously critics that bethese It has noted to of art. account aesthetic c” The aesthetic is The aesthetic Century) the Century) . 96 “

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with the new dogma that art “does art with dogma that new the . http://www.eurosa.org/2012/carrasco.pdf

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to define their own taste and to exclude less fortunate fortunate less exclude and to taste own define their to . acorpse” dissects - , Oxford:, Blackwell, 1990. aesthetic”, “beyond aesthetics”). “beyond aesthetic”, 68

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Nick Zangwil

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Several contemporary aestheticians have successfully proved the fact that there are resources in Kant’s theory theory Kant’s in resources are there that fact the proved successfully have aestheticians contemporary Several Cultural Values Aesthetic”, the of Sociology the “Against Zangwill, Nick Pierre 102

100 . to Kant’s distinction between the beautiful and the agreeable. He uses Kant’s Kant’s uses He agreeable. the and beautiful the between Kant’s distinction to Yet, both categories of detractors (the “diehard” conservatives like Kramer and Kuspit Kuspit and Kramer like conservatives “diehard” (the detractors of both categories Yet, Pierre Bourdieu, for example, states that the aesthetic has to do with the properties of of properties with do the has to aesthetic the that states example, for Bourdieu, Pierre 101 Bourdieu, “On the Historical Genesis of a Pure Aesthetic”, The Rules Aesthetic”, of Pure of Art a , Genesis Historical the “On Bourdieu,

over low art). But, Kant’s distinction between pleasure in the beautiful and pleasure pleasure and beautiful in the pleasure between Kant’s distinction But, low art). over and, that high art favours art high that and,

At the same time, the claim that the aesthetic has to do with gratuitousness, “the with gratuitousness, do has to aesthetic the claim that the time, same the At an arch an formalist in art theory art in -formalist ory of taste. Kant is misread by many theorists (including Greenberg, Bourdieu - class people prefer to take pleasure in the agreeable). He obviously obviously He agreeable). in the pleasure take to prefer people class

offunction, the primacy ofform overfunction, disinterest and so

many many

aestheticians, art theorists, cultural theorists, sociolo cultural theorists, art theorists, aestheticians, ” the pleasure in the beautiful over the pleasure in the pleasure the over beautiful in the pleasure the

becausefor him standing of the aesthetic ( aesthetic of the standing 70

– , the puri the ,

Diarmuid Costello, “Greenberg . As. Diarmuid Costello points out, Kant should

works of art as seen as st approach to art is no longer longer art is no to approach st , Vol. 6, No. 4, p. 2002, pp. 443 - Kant

Cambridge “ would expressions of aesthetic of aesthetic expressions ’s Kant and the the and Kant ’s , Vol. 65, No. 2, 2, No. 65, Vol. , not agree with agree not : Polity, 1996,

high art is is art high gists gists CEU eTD Collection art/post passé already is modernism believe that others while modernism in stilllive we aesthetic claim that Some theorists this. everyone with agrees not However, art. of narrative’ ‘grand ownsake its for itsis sake andit for enjoyed own is created (art function main/primary its function as aesthetic art’s emphasize to tend art of theories aesthetic The on). so and practical (religious, functions pre mid 20 the to century 18 the (before theory aesthetic . 2.3 politicalin appreciating work. an art But the or aesthetic the either choose to forced are we is that conflation of this consequences the aesth purist it (the of version one with critics by these conflated been of aesthetic dimension way of speak the right to not the depolitic is it if only experienced aesthetically is or is aesthetic object which an to according aesthetic the of is relyunderstanding no this need on there to But and aesthetic. the art political p of kind acertain disinterestedness, (immediacy, of requirements set certain to tied is man. aesthetic the If a straw iswith operate critics these aesthetic the of conception the In short, art. of in philosophy acceptable -

aesthetic theory of art holds that art is more a matter of skill and it performs various various it performs of skill and matter a ismore art holds that art of aesthetic theory The Aesthetic andPolitical Aesthetic The It It - r, D r, Foste aesthetic (Hal era ized (or an object can only have political functions if it isifit- de functions political have can only an object ized (or is is many many ). The postmodern theory rejects all traditional aesthet traditional all rejects theory The postmodern ). three grand theories of art of theories grand three disposal our at have we held that times beauty. th

century

According to thisAccordingscheme, all to , and, postmodern (post th

century), the aesthetic theories of art (from the end of 17 of end the (from art of theories aesthetic the century), - Critical Art:Bridging ouglas and Crimp, Craig Owens). there will be a gap between between be agap will there that course then of leasure…) this opposition is a false dilemma. false a is opposition this 71 - aesthetic) theories (after the ‘ the (after theories aesthetic)

art

the Gap the contemporary art is post art contemporary . The concept of the aesthetic has has aesthetic of the . The concept

and we live now in apost now live we and

the and the art ic of theories etic aestheticized). This is is This aestheticized).

account). One of One of account). - 60s). The The 60s). aesthetic aesthetic - apre : th -

CEU eTD Collection Jeffrey 103 work the properties “they are since itself work the to exclusively byattending perceived be directly cannot they because view, in this properties aesthetic not are on) so and originality (revolutionariness, properties All these art. aesthetic an makeit not does this but perceivable) revolutionariness originality of properties artistic the example, for (like, properties valuable some us present may art political that claim They aesthetic. not are which properties exhibits art political that claim usually relationship, this contest who Those incompatibility. false is a art political dis political or journalism social witty”. courageous or is Thisbe beautiful, sublime, moving, “daring, is piece the that saying by terms, in aesthetic art piece of simultaneously) stresses piece ce that stan critical the only not and it of dimension aesthetic in political appreciates public the words, other In space only. critical some removed into discourse) (aesthetic discourse such of out step totally able to not of critical coexistence the aesthetics” into back fall thereby and judgments recomm and study, preserve, what to about make choices and expressions cultural evaluate and review as people “aslong ridit: merely of get cannot still we theory art inirrelevant contemporary and obsolete Even buried. and dead than reborn more is extending by contrary,

Emory Elliot, “Cultural Diversity and the Problem of Aesthetics”, in Emory Elliot, Louis Freitas Caton and

Rhyne (eds.), (eds.), Rhyne In what follows, I attempt to argue that the incompatibility between the aesthetic and and aesthetic the between incompatibility argue the that to attempt I follows, In what I don’t endorse the view according to which art after the 60s isnon 60s the after which art to view according the endorse don’t I . That is why the public expresses its appreciation or support for a political for a political support itsappreciation or is publicexpresses why the That . , Aesthetics in a Multicultural Age aboutness end, however, they will seek to define and re and define to seek will they however, end,

its boundaries to accommodate Avant accommodate to boundaries its - political art and the aesthetic, often both the artist and publ the artist both the often and aesthetic, the art political

and other properties of the artworks which are not directly directly not which are artworks of the properties other and course with no relation to art. relation to no with course cause they are referring to political art quaart political art to referring are they cause , Oxford University Press, New York, 2002, p. p. 2002, New9. York, UniversityPress, , Oxford 72 though for many art theorists, the aesthetic is many is for the aesthetic art theorists, though . 103

In spite of all the disagreements regarding regarding disagreements the all of spite In

- G - arde art as well, the aesthetic as well, aesthetic the art arde critical art the artistic or the the or artistic the art critical - define standards of standards of define - aesth etic.

and not as as not and

(or both both (or

On the the On ic are ic are , CEU eTD Collection in in 106 105 Routledge, New York, 2008, p. 20. 104 is which experience the toward object of properties that the or object means: the here Content content. art’s here to not does refer content (the term have content art of experiences aesthetic its content) as aesthetic properties has apiece artwork’s of aesthetic experience the words, (in other work of the properties aesthetic focuses the and on second the spectator of the specific the on focuses exclusively one, narrow the traditional, , experience experience: aesthetic of the edg and radical accommodate to in order aesthetic of the concept the (by enlarging art and political re expe experience the consideration sensation” , aesthetic as sense the in understood a external of their because experience aesthetic generate artworks hold that to aesthetics in traditional tendency this is There experiences. to ability the have in particular artworks and general in Objects whatwe call“ in role acrucial aesthetic play properties The aesthetically. art this experience to us allow properties aesthetic these and properties non things” are itin other standspossessesin of virtue things” only the relations which to -

Beyond Aesthetics Noël Carroll has argued for the extension of the traditional, narrow understanding of the aesthetic experience David Prall, Aest Richard in Shusterman andEssence”, Adele Tomlin (eds.), “Aesthetic Budd, Malcolm defining the defining rience). rience). As already stated, I attempt to explain that political art exhibits relevant aesthetic aesthetic relevant exhibits art political explain that to attempt I stated, As already yforms),art cannot overlook the

. properly understood is “what is apprehended directly and immediately by by immediately and directly apprehended is “what is understood properly 105

and and Then, an enlarged conception of aesthetic experience is part of the enterprise of of enterprise of the is part experience aesthetic of conception anThen, enlarged

But, whatever we define th define we whatever But,

- concept of the aesthetic. My proposal to bridge the gap between the aesthetic aesthetic the between gap the bridge to proposal My aesthetic. of the concept perceptible and external to to external and perceptible hetic Judgment, hetic , Cambridge, University Press, 2001. (b ) the

enlarged, enlarged,

directly perceivable entities). For example,for David Prall, the

(a through which the viewer encounters the artwork (the aesthetic aesthetic (the artwork the encounters viewer which the through

Crowell,New 1967, 19. York, p. )

the

content traditional, narrow, narrow, traditional, e aesthetic (narrowly or widely) we have to take into take to have we widely) or (narrowly aesthetic e

(at least) least) (at between distinction important the the - oriented 73 art work. art

ppearance (form and aesthetic properties properties aesthetic and (form ppearance

concept of aesthetic experience. The The experience. of aesthetic concept

affect the the - pleasure and disinterestedness and disinterestedness pleasure oriented aesthetic experience of art”. of experience aesthetic

concept of aesthetic aesthetic of concept

Aesthetic Experience occasion occasion . 104

These “other “other These tw aesthetic aesthetic o sen o . 106

All All ses ses ,

CEU eTD Collection 107 pleasur (beside experience of aesthetic account traditional of the point crucial The other account. this on be pleasurable maynot art) political (including of art some experience aesthetic the and inframed of is pleasure terms others) (Hutch experience of aesthetic account traditional the since thing good a is This them. is of one art way. Political this be experienced can which objects range of understandin traditional narrow, the such away that allows us value to art morally politically or is directed” which experience the toward objects “ to disinterestedness and from pleasure experience aesthetic focus of the shifting isvaluable. By inthe experience artworks for of which the plurality ways advantageous of wa I point the displeasing and edgy art). ( pleasure type of of that promoter the affect (the pleasure conventional endorse the don’t I Carroll, Like experience. havingfor aesthetic anecessary condition not is cognit or political ritual, their for valued are sometimes works but sake perceptual properties m of terms in be understood can (form differently be understood can properties” “aesthetic and “form” answer. common most of the is kind the properties aesthetic What comprises directed).

Noël

Carroll, The contemporary debates on the nature of aesthetic experience make room for a wide awide for room make experience aesthetic of nature the on debates The contemporary own their for valuable or pleasurable are all artworks not that stresses Carroll Noel eaningfulness understanding of aesthetic experience because if the focus is on a certain type of of type a certain on is focus if the because experience aesthetic of understanding nt to make. The “content oriented” account of aesthetic experience (Carroll’s) is is (Carroll’s) experience of aesthetic account oriented” “content make. The to nt , Oxford UniversityPress, , Oxford Dimensions inThree Art - aesthetic experience), then political art will never be be never will art political then experience), of aesthetic concept oriented ).

The second sense of aesthetic experience seems to better support support better to seems experience aesthetic senseThe of second then and aesthetic properties can be understood as non- be understood can properties aesthetic and

the content of aesthetic experience of art? The form and the form the and The art? of experience of aesthetic content the rience). expe aesthetic ofg the because po because 74 e) is the notion that that experience is valued is valued experience that that notion is the e) 107 litical art is a difficult art, many times a times many art, difficult a is art litical

our aesthetic experience is enlarged in is enlarged aesthetic experience our

2012

Yet (not onlyfor its own sake asin p.101 , as I will show bellow, both both bellow, show will I as ,

ive value. So pleasure pleasure ive So value. eson, Beardsley and the kind of of kind the directly - CEU eTD Collection 108 are he thinks what Shelley outlines as artworks. appreciation their to relevant are that senses aesthetic upon based theory ageneral by providing artwork” xmakes an “what explain to try art of theories neo (including aesthetic are artworks property aesthetic an still is property senses this but does mean not they that lack them? detect we do How consist? they do what In relation. formal and property aesthetic as an counts what and exactly how now, is question the But sake. its for own when approached in artwork the perceived features only not those are properties only not Form does property politic of most probably, artworks) (andthen, even art political the of properties aesthetic the are directed is experience which aesthetic towards objects the the content oriented (Carroll’s, experience oftic aesthe concept the of sense second the consider Ifit). we of version historical certain only a rejects (it experience aesthetic aesthetic the to counterexample perception) uninfected acognitively is accessed through it least not at (or perceptually accessed necessarily “artis was Bell for pleasure”, “the disinterested focus was the Kant, for (e.g. experience aesthetic on focuses different inhave past been the else. There for sake of something not the its sake alone and for Journal ofJournal Aesthetics

For an interesting development of this idea see James Shelley, “The Problem of Non of Problem “The Shelley, James see idea of this development interesting an For Po In spite of all criticism directed against political against directed criticism of allIn spite ”

al art) can be aesthetically experienced. But experienced. canaesthetically be art) al cannot be always perceived by the means of the five the five of the means perceived always by cannot be properties aesthetic litical art’s have properties. These aesthetic properties are defined as properties perceived by the by the perceived as properties defined are properties These aesthetic properties. tic form”). Now the focus is the content of experience. This content is not This content of experience. iscontent focus Now the the form”). tic to beto understooddifferently , Vol., 43, No. 4, 2003, pp. 363-378.

refer .

to the visible/perceivable elements of an artwork an of elements visible/perceivable the to

accounts on art, political art does not reject the possibility of of possibility the reject not does political art art, on accounts . 108 - avant

He advocates an aesthetic theory of art in which all all in which art of theory aesthetic an advocates He

if we want to enlarge the concept of the aesthetic. aesthetic. of the enlarge concept the if to want we - - non a out points Shelley James As . - non garde, 75

the imperceptible, conceptual instances instances conceptual imperceptible, the - critical art, w art, critical perceptual works). Usually, aesthetic aesthetic Usually, works). perceptual

, then

both “form” and “aesthetic “aesthetic and “form” both

hich renders this art as a as a hich this art renders Perceptual Art”, Art”, -Perceptual ,

and a and perceptual perceptual

– esthetic esthetic British where where CEU eTD Collection 110 109 ). as artworks” appreciation their to relevant are which properties aesthetic have necessarily (“Artworks R refute means (X) to as artworks” be appreciated five to senses means the be of by perceived the not s five means the of by properties the perceived piece conceptual and other literature, “Fountain”, Duchamp’s deny means X that refute to (to X refute to avant consider do people because art of theory aesthetic for solution an acceptable not is this But perceived). properties on ha necessarily non garde, non and in aesthetic divides art it but Duchamp’s) (like pieces conceptual other or . as artworks” be appreciated five means senses. the of the as artworks. appreciation envisions possible waysThese out. positions are: he then and compatible together not are art on accounts aesthetic the of main claims three and avant art imperceptible make to in art attempt on the theories aesthetic the main of claims three the 364. 364.

James Shelley, “The Problem of Non Problem “The Shelley, James of Non Problem “The Shelley, James

If we agree with the proposition the If with agree we To affirm S and X (“Aesthetic properties necessarily depend, at least in part, on in least part, at depend, necessarily properties (“Aesthetic X affirm and S To X. There exist artworks that need not benot p need that artworks exist There X. by perceived properties on in least part, at depend, necessarily Aesthetic properties S. Artwor “R. - perceptible art will not be considered art (because R claims that art works works art that R claims (because art be considered willnot art perceptible ve aesthetic properties and S claims that aesthetic properties necessarily depend depend necessarily aesthetic properties that claims S and properties ve aesthetic s are art). s are ks necessarily have aesthetic properties which are relevant to their their to relevant are which properties have aesthetic ks necessarily

110 - garde art within the aesthetic domain. He also observes that these these that observes also He domain. within aesthetic the art garde 109

This possible deny not solution does for status the literature art

Perceptual Art”, Art”, -Perceptual Art”, -Perceptual - garde, non garde, s

R and S (a S and R - 76 nd S means means S R and accept To art. pieces, perceptual enses British Journal of Aesthetics of Journal British Aesthetics of Journal British

erceived by the means of the five senses to to senses five the of means by the erceived ” (S s Monroe Beardsley does), then avant then does), Beardsley Monroe s ) and “There exist artworks that need need that artworks exist “There and ) , Vol. 43, No. 4, 2003, p. p. 2003, 4, No. 43, Vol. , p. 2003, 4, No. 43, Vol. , - room for aesthetic aesthetic - CEU eTD Collection Non 112 111 them. on exclusively depend always they that mean not does this but senses, five the of means qualitiesother which one could e “unity” or of parts”, “harmony as such qualities aesthetic perceptual purely its alluding to without creepiness, or criticality courageousness, wit, braveness, relevance, contemporary avant integrate to attempt fruitful and daring most is itstill the aesthetic, perceptual be done” has to work if“more Even it. willinhere political art that extent - non is which art political and aesthetic is which art political have will we case this (in properties contains aesthetic all art that denies solution second the is completely perceptual); not art non be would art of political part large a then art, political solutionnon the existence of denies – them of one - non avant way In this perceptual. essentially are properties aesthetic deny that to means - non is there that (namely claim this avoidmaking must of art theories aesthetic that Shelley claims of art. theory m we then aesthetically all can art? If appreciated be not art, art non makes What art? make them does decide what cannot we because questionable non of appreciation from the is different art radically aesthetic of appreciation the that implies This view). isthis to close of art early philosophy (Danto’s

Angh Idem, Peceptual Artworks?”, Postgraduate Journal of Artworks?”, Aesthetics -Peceptual aesthetic); the thirdsolution (th aesthetically. still works are appreciated art perceptual arad Shaw, “Can Aesthetic Theories of Art Be Rescued From the Problem of Avant of Problem the From Be Rescued of Art Theories Aesthetic “Can Shaw, arad

The aesthetic properties of an object depend onlypart in of object an properties The aesthetic support but art of aesthetic theories for out ways possible three outlines Shelley Another solution would be to refute S and to affirm R and X. To refute S S refute To X. R and affirm to and S refute be to would solution Another pp. 364

-365. art within the aesthetic domain aesthetic within the art that is,

the third solution. One can affirm R and X and deny S. deny and X and R affirm can One solution. third the aes thetic art and aesthetic art). and aesthetic art thetic

xperience by seeing or hearing. by or seeing xperience at advocated by Shelley) enlarges the aesthetic to such an such an to aesthetic the enlarges by Shelley) advocated at - perceptual art (If Iapply Shelly’sfirst solution to 77 . We can aesthetically appreciate a work for its its for awork appreciate aesthetically We can , 2007, Vol. 4, No. 1, p. 37.

a large part of political of political part large a because art, - aesthetic art. This claim is also Thisis claim also art. aesthetic ust provide a different general general provide adifferent ust

on properties perceived by

-Garde andOther

“s 112 ymmetry”, or or ymmetry”,

111 - non the to for Shelley Shelley for

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CEU eTD Collection Criticism 114 Criticism 113 for whichhousework design the product the about think they how and themselves, regard Hungary contemporary in women how convey to them using of intention the with images her selects “often artist: the says Danto that ideas express often which titles/captions images new these to adds She symbolic). literal and (both meaning new have a which series in art - re and context original their from materials these she removes one: a complex andhouseholdwrappings products re of sometimescannot we fact that The Hungarian artist Agnes Eperjesi artist Hungarian by us affects senses it but itthe our not is way to the it makes way appears What aesthetic properties. non of account this on aesthetically can be apprehended “art”) called aesthetic beto considered surfaces. words or of the that grasping novel or of a power the feeling (like revolutionariness) daring, wit, felt are not propertiesthrough (but the five senses): non that means This five senses”. the through “not felt thus are - non that out, points explicitly Shelley us. before stands that piece art the of appearance perceptual the on attitude) adisinterested (in attention “ impossible. or suppressed is e experienc aesthetic mean that not struck” struck”

Arthur Danto, “Embodied Meanings, Isotypes, and Aesthetical Ideas”, The Journal of Aesthetics and Art Arthur Danto, “Embodied Meanings, Isotypes, and Aesthetical Ideas”, T aesthetic idea aesthetic powerful a of example An - political of number larger a considerably to allows solution Shelley’s , Vol. 65, No. 1, 2007, p. 122. , Vol. 65, No. 1, 2007, pp. 121-129. with daring and wit and our aesthetic experience is not a matter of focusing our our focusing of matter a not is experience aesthetic our and wit and daring with striking us with the ideas the with us

pieces

. 113 Political art (when is art and not mere activism, impro mere and not is (when activism, art art Political

watch, touch or hear critical or watch, touch Eperjesi collects commercial packaging, plastic bags and and bags plastic commercial packaging, collects Eperjesi

esthetic ideas ideas aesthetic are (these conveyed ed by the image is intended to be. used” to imageintended is by ed the - creates them as art objects art them as creates

78 Fountainis witty doesnot comefrom the sight

rties rties prope aesthetic perceptual is offered by Danto when he speaks of the the of speaks he when Danto by offered is

th e image e he Journal of Aesthetics and Art - perceptual aesthetic properties properties aesthetic perceptual - conceptual pieces of art does does of pieces art conceptual s As Shelley claims, weare

alone do not do alone of irony. Her technique is is technique Her irony. of - perceptual aesthetic aesthetic perceptual critical art pieces pieces art critical ). arranges them them arranges 114 strike

express

us and and us perly perly . As As . CEU eTD Collection 115 We perceptually. access artworks mean don’t not we that This does five senses. ofmeans the image does beneath this words of streams some and handkerchief a (possibly) with woman a with image an perceive we that fact The forth. put they ideas the of because value have aesthetic entities together two the But, relevant. be aesthetically not would title/caption) the (without perceived image directly the token, same the By aesthetic. art makeof apiece not would handkerchief) the holding women image o the (without alone ideas These feelings”. my of go let can I Then my eyes. into by reading theidea work of repressi into a psychologicalturned hiddenfeeling of a on representation and a remark critical image of a holdingwoman a handkerchief sole(this image having meaning)whatever is that meaning justnot . of ameaning atransfiguration but metaphor” in or irony in as another, through given meaning one “merely is idea aesthetic The meaning. this appreciate we way the to and meaning bot it contributes is and idea aesthetic work of this The not. is expressed idea the mean that not does beautiful not seem does work of this surface perceivable directly leas At aesth another then beauty, not if or, beauty has picture this that and so shaped the clearly o go let can I Then eyes. my into gets in “Once something awhile wrote: imageEperjesi that Beneath canhandkerchief). bealso a

Idem, t, we cannot detect these properties by directly perceiving the image. But even if the if the even But image. the perceiving by directly properties these detect cannot we t,

Then, Then, tra This For example, one of on for the sake of appearance. the for on p. 127.

eived by the byeived the perc properties on depend necessarily don’t properties aesthetic nsfiguration of the meaning of the initial image takes place when we grasp the the grasp we when place image takes initial the of meaning the of nsfiguration - called aesthetic properties of it are hard to trace. We cannot claim Wecannot trace. to hard it are of properties called aesthetic her her her

not make aesthetic. not piece this pieces shows shows a pieces like woman looking a bride in her veil (which

sentences sentences

f my The image is necessarily or feelings”. not pleasing “Once in a while something gets gets something a while in “Once images: beneath 79 Then, the innocent, even the placid placid the even innocent, the Then, .

115 Therefore etic property (say, elegance). elegance). (say, property etic , the aesthetic idea is h to the work’s work’s the h to f the f the CEU eTD Collection 116 kind of another produce maybe to art conceptual able last one, of the light In the value. aesthetic also but value haveonly not propositional does art Even conceptual of art. work that it is not the main f say isit informative; only be to cannot say isart not That to that be art. considered not have informationalvalue. Ifit wouldhave had only propositionalinformational or value would idea)aesthetic) (non idea aregular and aesthetic an between is demarcation seem where the not clear does it that namely too, account Shelly’s to addressed be can which criticism main the is (this ideas - aesthetic political conceptual, forms (Conceptual Arts, Non Conceptual Art”, make which machine a becomes idea “the LeWitt, Sol artist conceptual the over or “it superior” is conceptual “the that said is It obsolete. object Artpluse Magazine creation of a material object (according to Lucy Lippard and John Chandler, in “ in conceptual/dematerialized produced is this art when even realm aesthetic within the perce fromperceptioninfluences experientialbackground. webackground starts This our what because useless be would effort this appreciation), of our object the about knowledge external inits piece “purely” an art wouldstruggle to perceive if we even And, ground. this on aesthetically art appreciate we mean that not does this but do, (eds.), (eds.), political and aesthetic se per material from out, “the dematerialization of art was more a strategy for repositioning art in relationship to politicsart) which – emphasize the idea communicated by art as idea and not its formal aspects. As Kristine Stiles poin

Art’s de Art’s

ive, how we perceive and so on. so and perceive we how ive, Theory and Documents of of Documents and Theory which have a similar propositional or informational content but a but content informational or propositional similar a have which The answer is that political that is answer The - non of theory The -mater aesthetic ideas aesthetic between distinguish can one how ask can he and value) Artforum ialization (or immaterial art) refers to the creation of a conceptual art piece as opposed to the the to opposed as piece art conceptual of a creation the to refers art) (or immaterial ialization .

). A conceptual piece em piece 1968 A, conceptual ). ,

but a shift from an artwork’s value as an object of commercial exchange to its value as as value its to exchange commercial of object an as value an artwork’s from ashift but interchange” (Kristine Stiles, “Language and Concepts”, in Kristine Stiles and Peter Selz Selz Peter and Stiles Kristine in Concepts”, and “Language Stiles, (Kristine interchange” - critical art has onlypropositional informational or value (andnot , June,, 1967). unction of art to be informative, that is, not part of what it is to beit part is a is, of to what not that be informative, to of art unction Contemporary perceptual aesthetic properties helps us to integrate critical art critical art integrate us to helps properties aesthetic perceptual

- Yet, at this point an opponent can claim can opponent Object an point Arts). this at Yet,

In short, art’s dematerialization refers to those art practices (conceptual (conceptual practices art those to refers dematerialization art’s short, In

criti Art, phasizes the thinking process or the idea and considers the art cal art does not have only propositional or University of California Press, Los Angeles 80 elf and for itself (without any other other any (without itself for and elf determines the material in an art piece”. For For piece”. an art in material the -determines s the art” (in “Paragraphs on on “Paragraphs (in art” the s The Dematerialization of Art Dematerialization The re not aesthetic ideas ideas aesthetic not re , 1996,, p. 806).

not a shift and and mere mere

that ts ts ” 116 ,

CEU eTD Collection Installation, Happening and so on. “Conceptual Art” covers different kinds of works, from photographs119 and films to Body Art, Performance, 118 Philosophy and (eds.), Conceptual Art Schellekens 117 contemporary of examples find relevant cannot we mean that not does art conceptual introduc to have forms art its and politics its both manifests days) our in (especially art political mer than idea the with involve and deal We grasp, knowledge). in idea propositional (as that about merely think don’t we and piece art the to central idea the of experience personal and first a have we words, In other that”. that knowledge transmit information but also it leaves sp leaves it also but information transmit just not does form. It in but adifferent thing same the expresses which device aesthetic c couldn’t news! We corporate “Thanks, journalist: a by declaimed ironic sentence form the in of the corporateidea that ironic way. or metaphoric transfigured are which ideas political are in art political presented ideas aesthetic Many directly. be presented cannot what imaginatively and metaphorically indirectly, present ideas e aesthetic Th it. by conveyed knowledge propositional mere the beyond goes art through with critical art hascritical art is more Ibidem. Elisabeth and Goldie Peter in Ideas”, of Values Aesthetic “The Schellekens, Elisabeth see example For The expression “conceptual forms” refers to the va the to refers forms” “conceptual expression The ” (it has an imaginative component attached to cognitive) the to attached component imaginative has an ” (it

the idea it set out to convey. to out set it idea the . 119 For example the political po political the example For Some philosophers prefer to say that the type of cognitive value that say ofthe cognitive type that to prefer Some philosophers

It is more often Performance, Installation or Body Art than painting or sculpture. I sculpture. or than painting BodyArt or Installation Performance, is often more It on – trol the people without you!” - non is that one e a footnote here: the fact that contemporary political art is more a type of is of a type more art political contemporary fact that the here: e afootnote

news are not unbiased. news not are experiential

propositional because it also allows us to engage imaginativelyit allows also us to because propositional

than propositional than ster “You Write What You’re Told” exp Told” You’re What Write “You ster

The manner in which we relate to that idea expressed idea expressed that to relate we in which manner The ace for ace for public’s interpretation

, Oxford University Press, 2007, p. 106. This idea is transmitted through the political poster political poster the through is idea transmitted This ely think of it of think ely

- critical This riety of forms whichin Conceptual Art can operate. 81 . 117

It tells us “ us tells It . political idea is translated into an an into is translated idea political 118

Typically but not exclusively, exclusively, not but Typically

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and imagina and - hood in conceptual

resses the critical critical the resses conceptual, conceptual, tion. tion.

in a a in

CEU eTD Collection 122 121 120 aest the downgrade of them both because art and conceptual art political between difference isno there that argue Some artists artist. of the role the about and past of the art successful focused on non they and objects) decorative sculptures, (paintings, sense in traditional the object) art (the the toward critical ready in sculpture) and painting (like media artistic is anti project conceptual , perspective (figuration, sculpture or painting form), traditional or surface pleasant beauty sensually (as of art), creator gal art museum, of ideas traditional the rejected artist The conceptual making. of art forms traditional from the different radically and was revolutionary making ofmanner art medium. This exclusive aslanguage their the only used artists conceptual Initially making consuming. and art of aesthetics traditional the priority over takes millions of pounds. for art his He sold God”). of Love the “For (see platinum and diamonds skulls, using pieces “conceptual” create Anti etc.). be beautiful, to has art that ideas the doctrines, disinterested sake” for art’s “art pleathe sure; and an immediate as of beauty paradigm the apurpose; without exists which something as experience aesthetic like Arpilleras art forms of applied and different “Abu Ghraib” of paintings political artis not non- (Diarmuid Costello, “Danto and Kant. Together at Last?”, in Mark Rollins (ed.), ‘anti ‘aesthetic’, aesthetic domain. As Diarmuid Costello suggests, “one ought to calibrate claims about what countsopposition as through ugliness, unpleasa Blackwell, 2012, p. 156).

I have to note that not all the conceptual project is politically and critical Anti folklore. and craft of potential the revolutionary underestimate to have We don’t Yet, t message. Yet, arelevant for hetic concerns - Aesthetic refers to an art movement which rejects the traditional aesthetics (especially the ideas of ideas the (especially aesthetics traditional the rejects which movement an art to refers -Aesthetic mades, mixed media, film and photography. Initially, these conceptual artists were artists were conceptual these Initially, film media, and photography. mades, mixed Conceptual arts Conceptual piece ininvolved art the artthe inidea concept isor which that the art(s) Conceptual - critical art which express their politics in traditional forms (like Fernando Botero’ Fernando (like forms traditional in politics their express which art critical aesthetic even if it goes against the traditional aesthetics. This anti This aesthetics. traditional the against goes it if even aesthetic - aestehtic’ and ‘non and aestehtic’ - material art (ephemeral texts, happenings, performances) happenings, texts, (ephemeral art material

com

modification of art of modification

are relevant examples of art whichmakes critical claims about the colour - , aesthetic

aesthetic’ to the relative restrictedne relative the to -aesthetic’ ntness, shock, gore. But all this negative strategies don’t step outside the It is not a novelty that the entire entire the that novelty a not is as commodity. It and) art 121

manif

and this was the reason why they give up the object object give upthe was why they and the reason this esting its opposition by rejecting the traditional traditional the rejecting by opposition its esting 82 favour - political accurate: half only is his

of newmedia of art productionlike ss of the aesthetic theory in question” question” in theory aesthetic ofss the ly engaged. Damien Hirst started to -

aesthetic art manifestsits Danto and His Danto andHis Critics

. 122 lery, genius (as the (aslery, the genius ).

120

critical art art critical - , Wiley , aesthetic aesthetic , the the , - s - CEU eTD Collection of an art here is only as example discussed art Conceptual section. in large next issue at the in lies strength confrontational whose art critical political of manyinstances are there Nevertheless, oppositional. and critical becan political, art dematerialized conceptual, only that suggest to want don’t I hegemony). the representing them of (both “museification” and market art art the the against both directed attempt is acritical seen as This dematerialization commodification). art’s (critiquing materialization is presented. content that which in way the in and piece the of in content the both be detected ideas can aesthetic claim that can we Then, appreciation. public’s of worthy piece make the to in order ways) imaginative (unexpected, in ways certain combined are ideas Those in air. floating the just not are ideas as artis counts what concerning expectations our transformed having of spite has itspainting and functionnot is still pleaseto art hasConceptual viewer). the a form in with form isin which way art the conceptual form focus on the replaces totally form. meaning byconveyed mediuma a but meaning byconveyed a medium a just not is there words, other In medium. that by conveyed meaning the with fuses medium attemptsmeaning onlyarrangebut art the to way non and aesthetic The concerns. aesthetic dismisses the or lower not does undertaking this but message critical and arelevant transmitting for sometimes strives art as conceptual

they respectively make their statements. Perhaps, both of them present us with content or or content with us present them of both Perhaps, statements. their make respectively they

the function to please the viewer (conceptual art does not have a physical form as a a as form have aphysical not does art (conceptual viewer please the to function the - de object’s art of means by the gesture political may a perform artist The conceptual Conceptual - aesthetic artifacts ( artifacts aesthetic - political art fo art political

cuses on ideas but this does not mean that the focus on ideas ideas focus on the mean not that this does but ideas cuses on

(or the way that idea is put forth). What is challenged by by challenged is What forth). put is idea that way the (or e.g.

and its functions are understood are functions itsand a piece of art and a text in a newspaper) lies in the inlies the newspaper) in a and atext of art a piece

83 meaning in a medium. The arrangement of the the of arrangement The medium. a in meaning its materialized form and I will discuss this this willdiscuss form I and materialized its arranged in a certain certain arranged a in -

difference between between difference as a physical entity entity physical a as tic form. The The form. tic - CEU eTD Collection October 2003, p. 378. 124 “Philosophy Conceptual and Art”, Oxford University Press, 2007, p. 96. 123 claim may beauty” and power with and ae have of non experience aesthetic have We still can altogether. perceptual). mean Giving upthenot perceptual does upaesthetic giving experience be, eve to seem may as non isnot art political and Conceptual aims. its critical pursue to in order aesthetic the from itself isolate should art conceptual that think don’t I sound? philosophically this is But stand. political and acritical values as aesthetic the eliminates art conceptual is count idea concept all or that the and the o Some properties andnon art properties of throug merely mediated it isnot access to our means that It perception. for directly available not a Firstly, follows. as answered idea anon and tic aesthe an between difference non the and properties aesthetic aesthetic art is a kind of propos anti an performs which

James Shelley, ‘The Problem of Non of Problem ‘The Shelley, James Schell Elisabeth and Goldie Peter in Art”, Conceptual and “Philosophy Kossuth, Joseph h the five senses. senses. five h the are There in values cognitive of elevation the that think to inclined is one perhaps, Then, sthetic force and they move us or, to quote Shelly, they strike they Shelly, quote to or, us move they and force sthetic property either that i that either - non the to objections possible several

; or that f art objects (non f art objects ition “presented within the context of art as a critical comment on art” on as acritical comment of art within context the “presented ition n if it performs typically as anti as typically performs it if n t is unclear what makes a what unclear is t - aesthetic function without aesthetic being function non- Secondly, t Secondly, - aesthetic properties of objects and situations is not easy to draw. draw. easy to not is situations and objects of properties aesthetic . there is no no is there 124

- non

- The The Art’, -Perceptual perceptual properties which are not aesthetic. What is the is the What aesthetic. not are which properties perceptual perceptual aesthetic property is that feature in art which is is which infeature art is that property aesthetic perceptual he line of demarcation between non he between line of demarcation - perceptible, perceptible, clear line of demarcation between non between line of demarcation clear s.

non like the chemical compositi chemical like the - British Journal of Aesthetics of Journal British aesthetic idea? aesthetic - percep perceptual aesthetic theory of art. One One art. of theory aesthetic perceptual - - aesthetics (by giving up the purely upthe purely aestheticsgiving (by perceptual art because the ideas can ideas can the because art perceptual

tual property of art to count as an count to art of tual property aesthetic

These object These

us “with daring, and wit, “with andus daring, wit, . A conceptual work of of work A. conceptual - perceptual aesthetic aesthetic perceptual , Vol. 43, No. 4, 4, No. 43, Vol. , ekens (eds.), (eds.), ekens on of painting, painting, of on - aesthetic as it it as aesthetic ions can be - perceptual perceptual 123

CEU eTD Collection non demarcate can we severalin are which ways there Yet, view. this endorse art) obviously are rectangular) cost lasting andoflike beingfive being sculpture hours, perceptible properties green, form from non aesthetic demarcating for criterion areasonable be cannot it sake of the for just object an of surface non from the aesthetic the demarcating mean and enh to extended is aesthetic the be that might enlargement this risk of biggest The aesthetic. of the enlargement anfor options available - non the to done be justice. be might justice expressed. chil is amesmerizing like “Justice inline: form the new, poetic anauthentic through original, in art be expressed justice can idea the of example, For form. aperceivable necessarily becom idea, this form certain in a is expressed justice idea of The same idea). aesthetic it an make not does this (but innewspaper a expressed idea isjustice apowerful idea the of can say that iscars a non to applied powerful use): of circumstances the on (depending circumstantial are properties - non and aesthetic both be can “daring” or “powerful” being of property non fromideas aesthetic or properties aesthetic d of hope”. This is an unexpected, revolutionary, original form through which the idea of of idea the which through form original revolutionary, unexpected, an is This hope”. of d since “ since

has to be re be to has

For some art critics, there is no need to draw this line (aesthetic versus non versus line draw this is (aesthetic need no there to critics, some art For Even if Shelley’s theory is not free of criticism and more philosop more and criticism of free not is theory Shelley’s if Even ”. For the reasons discussed in the first chapter, I chapter, first in the discussed reasons the For is and art life life ”. is art - aesthetic property, but to literature is literature to but property, aesthetic - thought to make roomfor non es an aesthetic idea). The form in which this idea is expressed is not not is in idea idea). The form is this es an which expressed aesthetic - aesthetic. Form coul Form aesthetic. perceptual aesthetic properties, at least his proposal highlights the the highlights proposal his least at properties, aesthetic perceptual

- non This expression transcends the literal meaning of the idea of the idea of of literalThis transcendsmeaning expression the aesthetic properties. aesthetic d be one of these criteria. But the very concept of of very the concept But of criteria. these be one d - aesthetic are necessary. However, perceiving the the perceiving However, necessary. are aesthetic 85 - - aesthetic properties or i or properties aesthetic perceptual. perceptual.

aesthetic. If we talk of powerful ideas, we ideas, we powerful of talk we If aesthetic.

ance everything. Some criteria of of Some criteria everything. ance

deas. For example, the the example, For deas. hical work needs to to needs hical work aesthetic. These These aesthetic.

- in art (then, (then, art in aesthetic in in aesthetic - perceptual perceptual

do not not do CEU eTD Collection aesthetic component of art which is completely depoliticized a depoliticized whichis completely of art component aesthetic (meani matter subject art’s to as opposed (form) aesthetic of the is it an but fromunderstanding form also content - non as be to non considered its aes paramount to are object an shapes of is art as defined with usually Political meaning. of container the just as is considered content while the conduct for still treat theorists art many In consequence, counterpart. aesthetic locus as the been treated has form ones in contemporary and the experience aesthetic of the accounts as aprima facie treated being is meaning no not does design or style to refers which that is form if Even appropriate. not is form of this show understanding that to attempt I section In this aesthetics. subject defined something as that whichis expressed byform is (content is being what depicted, style, elements technique, of designindependent asof meaning) work’sthe art is and content . 2.4

Aesthetically Meaningful Form: Political Form: Meaningful Aesthetically - So, because political art is considered to be more focused on its content, it is also seen it seen isits also content, focused more on be to is considered art because political So, form where work of the aspect formal specific a with identified been has The aesthetic Traditionally, ting ting demarca of away just not is aesthetics” versus “content formula The aesthetic. matter). Vestiges of these definitions still persist in art theory and contemporary contemporary and theory in art persist still definitions these of Vestiges matter).

(or even a political meaning). political a even (or - aesthetic. form ng) or ng) or the idea it forth. puts

is defined as the visible/audible part of a work of art (it refers to refers (it to of art of awork part visible/audible as the is defined

a political message or content messagea political

object of the aesthetic experience (both in traditiona the (both experience aesthetic of the object

of the aesthetic, the content is considered as its non its as is considered content the aesthetic, the of

86 - thetic appreciation while the content part is is part content while the appreciation thetic Critical ArtCritical as of aMatter Form In this understanding, form is seen as the the as seen is form understanding, this In .

mean that a style or a design has adesign astyle has mean or that In this understanding, forms and forms understanding, In and this nd the content is considered as as is considered nd content the ). ). Shortly put, while the the while put, Shortly m as the aesthetic aesthetic the m as -

crit ical art art ical the the - l

CEU eTD Collection modernity”, 126 125 politicagrounds, these on form (then, of matter a is aesthetic the while content of art’s matter a is political the that indirectly or directly assume theory) art postmodern and formalism contemporary content political the obscured” or “bracketed that in“formal experimentation” invested art) is an art, aesthetic postmodern before ‘ the art modernist whilematter the subject politicized (contem art postmodern holds that later The influentialbrand of postmodern art theory” (HalFoster, DouglasCrimp, and Craig Owens). focusis not only question to the classical or the contemporaryformalist views, but also “the contemporary and formalism formalism). (classical work My art the of aspect formal specific a with identified been has aesthetic the which of basis the on arguments the present firstly will isin art only not political argue that the I - non the significance of it of significance political d devaluate is aesthetically the piece while content art of the structure depoliticized the not is form claim I that of elements). arrangement spatial pure/meaningless/functionless ideas whichform em basedis some on appreciation this appreciated, isform aesthetically when but appreciated) the formal claim that “ functionmeaning alsobut and form. a art’s challenge (political) InI words, other the purist June 2012).

Toni Ross, “Departures from Postmodern doctrine in Jacques Ranciere’s account of the politics of artistic of artistic politics of the account Ranciere’s Jacques in doctrine Postmodern from “Departures Ross, Toni The definitionof Before making this claim plentifully clear and offering my arguments to support it, I I it, support to arguments my offering and clear plentifully claim this making Before Now, I need to introduce adis introduce needI to Now, aesthetic, political counterpart of the form. In what follows, I will challenge this view. view. this will I challenge follows, In what form. of the counterpart political aesthetic,

Transformations,

form are coextensive: both content and form can be aesthetic (can be aesthetically aesthetically be (can aesthetic be can form and content both coextensive: are

l art is for them non them for is l art refers to the visible elements of a piece, independent of their mea of their independent of apiece, visiblerefersthe elements to form .

For sustaining this claim, I will argue that not only art’s content has a a has content art’s only not that argue will I claim, this sustaining For can be found in:

No. 19, 2011. bodies (it is not just a pure appreciation of a a of appreciation just apure is not (it bodies

. 126 http://arthistory.about.com/cs/glossaries/g/f_form.htm -

aesthetic art). aesthetic All three theoretical positions (classical formalism, formalism, (classical positions theoretical three All claimer: I don’t want to suggest that the aesthetic suggest that to want don’t I claimer:

expressed through content but through form too. too. form through but content through expressed 87 porary art after the the after art porary

60s (which, unlike the (which, unlikethe 60s ‘ 60s) is to 60s) committed

(accessed 12 12 (accessed ning” . 125

and and

CEU eTD Collection 128 Fall 2004. p. 20. 127 art. of philosophy in and theory art in both criticized - non obviously is content this meaningless “meanings” in their than lies elsewhere piece certainly art an of dimension aesthetic is evenbeauty).itself A work rendered of but else (not inservice anything used of the 20 the For meaning. entails aesthetic) the art as evaluation artwork’s in unimportant of art make content the art” of awork constitutes istruly what structure formal i like“form Contentions content. toward “indifference” the is precisely view of point aesthetic from an art characterizes formalism, what To . properties” perceptual require know not does and qualities perceptual or sensory its of awareness view: formalist viewe to the itmight appear challenging how or empowering and matter no itsfrom content, stems wittiness or powerfulness relevance, artwork’s the perspective this According to given work. response the the advances century

Criticism “A Dziemidok, ofan artwork as artworkconstituted is artwork as artwork is constituted exclusively

Bohdan Dziemidok states that Formalism Journal Formalism”, of Aesthetic Aesthetic Moderate “Against Education Parsons, Glenn r, have nothing to do with the aesthetic. This theoretical stance is known a known is stance theoretical This aesthetic. the with do to nothing have r, Classical f , Vol. 51, No. 2, 1993, p. 185). to the purely for purely the to on the basis of its form alone. The classical formalist assumes that the aesthetic aesthetic the that assumes formalist The classical formits alone. basisof the on

rtistic Formalism: Its Achievements and Weaknesses”, The JournalAesthetics of andArt Weaknesses”, and Achievements Its Formalism: rtistic and only the content is the bearer of some meaning, ideology and message (a message and ideology meaning, some of bearer the is content the only and

“the aesthetic appreciation of an artwork generally involves an attentive attentive an involves generally artwork an of appreciation “the aesthetic ormalism’s manifesto, ormalism’s th

a perceivable arrangement of elements whichhas nofunction

century aesthetic formalism (Greenberg), form was not allowed to be be allowednot to form was formalism (Greenberg), aesthetic century 127 mal qual mal

ory of“sig nif Here, the perceptual qualities are the formal qualities of the piece. piece. the of formal qualities the are qualities perceptual the Here, . 128 In short, what the classical formalist calls form calls formalist classical the what short, In

primarily aesthetic). This extreme formalism has been many times times many been has formalism extreme This aesthetic).

ities ities

by its formal aspects) and moderate in both its versions, radical versions, its both in –

i the line, shape, space, tex space, line, shape, the by its formal aspects) negate the importance of content (Bohdan (Bohdan of content importance the negate aspects) formal by its formulated by Clive Bell at the beginning of the 20 the of beginning the at Bell Clive by formulated ci appre art where form” cant 88

s the ‘essential’ core of art” or “the “the or of art” core ‘essential’ s the

(according to which to (according ture, light, and colour and light, ture,

(accordingvaluewhich to the a tionis defined as a - non its about ledge , Vol. 38, No. 3, 3, No. 38, Vol. ,

the value of an ofan value the (as the the (as s the classical classical the s . Form is is Form locus of of locus and and

– of a a of no nd nd th

CEU eTD Collection 130 129 but”. “nothing is pronouncement from Bell’s part only problematic the that stresses just and form (“t formalism moderate . important” more are by representations determined properties aesthetic the when even ignored be not should painting representational formalism), extreme (to Fry and Bell to inlight the of“L.H.O.O.Q” d t works - non have art of works ‘contextual’ pieces non have also art representational that propertiesf moderate the areformal). that argues Zangwill are formal of awork properties aesthetic some all view that the classical, extremeformalism. The classicalversion (th non and properties aesthetic formal both usuallyhave artworks but properties aesthetic haveformal only that of art works formalis of version this contemporary to According aesthetic. of the a theory version amoderate for argues Nick Zangwill’s) re work the inhere itself in they because elevating” and “satisfying form between comparison the in that grounds the merit in formalism on art has philosophy of that great Curtainposits Deane instance, For art.

presentational elements outside of the work of art. Contemporary formalism (especially (especially formalism Contemporary of art. work outside of the elements presentational

Idem, Nick Zangwill, “Feasible Aesthetic Formalism”, Nous

However, Zangwill stresses the fact that there is something which should be conceded be conceded should which issomething there fact that the stresses Zangwill However, Yet, there are several attempts to resuscitate formalism in contemporary philosophy of of philosophy contemporary informalism resuscitate to attempts several are there Yet, p. 615. hat are intended to be seen only in the light of otherlight works, the in like only seen Duchamp’s be to intended are hat colour

the aesthetic properties are formal. The moderate formalism holds that while while holds that formalism moderate formal. The are properties aesthetic the - three the of knowledge and a o appreciate a work of art but with us nothing bring needwe of awork art appreciate o a Vinci’s “Gioconda”) a Vinci’s -

formal aesthetic properties. This view is different from the from the isview different This properties. formal aesthetic formal aesthetic properties (where contextual works are are works contextual (where properties formalaesthetic namely the fact that “the purely formal properties of of properties formal purely “the that fact the namely 130

89 Zangwill Clive Bell quotes hisin defence ,

others are not ( not are others , 33,, No. 4, 1999, p. 612.

dimensional space” dimensional of formalism. Moderate formalism is seen as as seen is formalism Moderate formalism. of - formal aesthetic properties formal aesthetic and and . 129 e extreme formalism of Bell and Fry) is

content ) (a things: two concedes ormalist although , theformal elements aremore

while content refers to the the to refers while content

– Bell

at least some aesthetic some least aesthetic at )

and after that, he he that, after and m there are some are m there ,

and and

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of of

CEU eTD Collection 134 nature. 133 representational content or aspects of those works. 132 featur aesthetic event’s or object’s of that constitution the to relevant are be considered, may event or object an which within context appropriate 131 Further, t non of examples find isit times in our because formal be purely will any) (if pieces art of fraction is formalism if Firstly, contemporary account? some non of art theories According him, to purely formal be to that claims Zangwill art. of experience in aesthetic of consideration tic a formal aesthe centrality the on focuses still formalism moderate the However, properties). aesthetic formal colour and form of sense us a need we with bring of awork art appreciate (“to unproblematic remains stance formalist Zang , aesthetic of the accounts contextualist by attacked been has formal” “ that The claim this. exactly do which articles academic in spatial relationships the originate that pictures of formal properties to relates form” that “plastic term the later mentions just form term the in which sense(s) the states clearly not he does 2004, p. 12). 3, The Journal No. of Aesthetic38, Aesthetic”, Education (Glen Vol. the of , a Theory as formalism abstract “Moderate purely Parsons, being their undermines which Woogie”) Boogie “Broadway (e.g. works mature his Mondrian argues, Parsons as However, by Zangwill. abstract” “truly as labelled are work

Glen Parsons argues that it is not clear that much of abstract art is non is art abstract of much that clear not is it that argues Parsons Glen in expressive are that properties for account ly adequate will formalism aesthetic extreme how clear is It not Classical formalism is unable to account adequately for the value of artworks when that value is tied to the “Contextualism is the view that some non will holds that if we just delete the “nothing but” part from Bell’s claim, the rest of the of the rest the claim, from Bell’s part but” “nothing the delete ifjust we that holds will

Contemporary formalism concedes the non the concedes formalism Contemporary I wil I he way in which Zangwill understands understands Zangwill which in way he -

formalworks ofart) l not criticize here once again extreme formalism. There are hundreds of of hundreds are There formalism. extreme again here once criticize not l , , 132

a work of art has to be non has to of art a work

expressive accounts expressive

many - representational art works. Even abstract art is art representational abstract Even works. art representational

artworks are like this (even if he also concedes for the existence of existence the for concedes he also if like are (even this artworks - three the of knowledge and a es” (Walton, Danto, Carroll). Danto, (Walton, es”

. What is problematic about con this What about is problematic .

formal properties of art, specifically properties that provide an an provide that properties specifically art, of properties -formal 133

of art and so on. so and art of

90 - representational as well as non as as well representational taken for granted for taken form - formal aesthetic properties (not all (not properties aesthetic formal

and the formal aesthetic properties is is properties aesthetic formal and the dimensional space dimensional

all

- the aesthetic properties of art are are art of properties aesthetic the

representational.Mondrian’s mature is employed in this sentence. He inis He sentence. employed this , only an extremely tiny tiny extremely an only , temporary formalist formalist temporary

131 has given little titles to ”

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art has art . 134 . l

CEU eTD Collection formunderstanding as of form of understanding His form). by conveyed ideas presence of (the arts in contemporary form in spatial relationships the originate ofthat of pictures elements). formalto properties problematic.also He comes upwith anfor understanding of in the workin the itse “ formal elements it only the because somethingto external reference to without entity no function form calls formalist extreme the meaning. What of aesthetic the to not isopposite form of aesthetic tex space, shape, line, the (like qualities for purely of relationship spatial a merely not is form this form, of matter a is art political the exclusively is constituted as artwork convey”. political art is exp is art political any meaning). void of is form art’s (where meaning to opposite as form of aesthetic the for argue to attempt they is when accounts these of part tic The problema claim. is areasonable realm aesthetic the in role important an play elements formal that fact The entirely). not and partly only played is thisholds role that classical, unlike formalism, if contemporary (even realm aesthetic the import an play art of elements formal the that claim formalism of understandings contemporary In a nutshell, these content. of relevance aesthetic the and importance value of an artwork as artwork is constituted is as artwork constituted value of artwork an

(as thelocus of the aesthetic) entails: a perceivable arrangement of elements whichhas spatial relationship of elements of spatial relationship a as arts visual in This understanding of form Now Formalism and and the political aspect of of aspect political the that namely, claim, initial the to back go to like would I

lf no meaning The. contemporary forma ” ressed not only in the artwork's content but also in its form its in also but content artwork's the in only not ressed

extreme extreme versions, its both in , while content refers to the representational elements that refer to the

visual properties “in isolation from the ideas the from isolation “in properties visual

seems a traditional one, which disregards what counts as counts what which disregards one, seems atraditional by its formal aspects) by itsand formal aspects) ture, light, and colour and light, ture, 91 primarily (according to which the value of an artwork value whichof artwork an the to (according lists, also see form as a self a as form see also lists,

by its formal aspects) negates the the negates byformal aspects) its m as a “plastic form” (that relates relates form” (that m “plastic as a ) but a but meaningf)

moderate echoes extreme formalist’s formalist’s extreme echoes

(according to which (according to

such properties such properties ul entity. The . Yet, when. Yet, ant role in in roleant - enclosed

inhere inhere mal mal CEU eTD Collection general we know that discrimination or cruelty is bad, but what art reveals to us in formal us informal art reveals to what but bad, is cruelty or discrimination that know we general In of. aware already are we form in the and know, already we what us reveal to art need don’t ways, either along with the work or in response to it. Form has an impor an has Form it. to response in or work the with along either ways, separation). stimulates Theofits work in art public feeling acting thinking, in or specific th to messagebeing adaptable art’s for instrument Formbecome an can other. the successfully or less or more accurately but, work isone reflecting of art an components separate aesthetic. less it itbut elementsfunctionmeaning. has Having aa make meaning andfunction a not and does a of arrangement spatial a merely not is Form experience. aesthetic afford to or aesthetic be is aesthetically the whileof art content structure depoliticized and pure the not is form that show to narrower: is stake my but alone form the not and the influence form content and Both experience. aesthetic political characterize can which form) political form (resistant, of conception particular sustain to a but views, formalist contemporary muchargue against so isnot to it. here My purpose political of significance classical or devaluated is aesthetically the content piece while art of the structure meaningless and itself but something external to the work. Thatis to say thatform doesnot exist only to call attention to reference to without themselves to referring necessarily not are artwork an of elements formal exclu “aes outside world (Curtain). Ane e intended purpose. In this way we can talk about a unity of form and meaning (and not a a not meaning formand a unity (and of talkabout we can wayintended In this e purpose. thetic” on this account or it is at best infe best is itat or account this on thetic” sively on form. But is this distinction feasible? In what follows I argue that it i that follows argue I what In feasible? is this But distinction form. sively on Especially in political art’s case, case, art’s in political Especially is form depoliticized not isthe my that claim section of this at beginning the As stated also also for other purposes (like critical purposes on for other

Form is as meaningful as the content is. Content and form are not completely completely form and not is. are Content content asmeaningful the is Form as xpe ri ence that relies upon con upon relies that ence form can be critical and resistant without ceasing to ceasing to without resistant and beform critical can 92 es). rior to the aes the to rior - critical art and whichcan afford us an

spectator’s aesthetic appreciation appreciation aesthetic spectator’s

devaluated counter devaluated tent is not considered prop considered isnot tent thetic expe thetic tant ri ence which relies relies which ence function - part of it. of part s not. The The not. s

here. We here. erly erly

CEU eTD Collection Political Imagination”, N 18, Hypatia Vol. , of avant incorporation bec 136 Reader 135 I examples in tradit both significance form that illustrate clearly they because here evoked are These examples art. political from and other contemporary the art political from traditional single is locus any the longer not content form as political, of aesthetic - re toward step important indefensi several contains enterprise aesthetic Adorno’s assuming formalthat innovation in wrong is hebut also acritical potential and have aresistant indeed, can form, because right, alone that argues he when libratin has apolitically form alone the mean that not status the quo resist of art piece the makes form of potential The political sense). un remains pure, autonomous, w can be politicized content claimonly the that form to and aesthetic from the content political meaningful the separate simply cannot We meaningful. politically but void not isform art’s critical in cases, some that is question this makeanswering by to want I point form. by mediated art’s are insights” “special These happens”. “really what about insights special but information, waysis more insightful than the simple acknowl

Amy Mullin argues that form or stylistic technique alone cannot be liberating or resistant to status quo (eds.), Gebhardt Eike and Arato Andrew in “Commitment”, Adorno, Theodor ause many times the power gentrifies these formal innovations from arts as in the case of the successful successful of the case the in as arts from innovations formal these gentrifies power the times many ause

, Continuum, New 1982, York, p. 304. the course of the world, which a pistol puts permanently men’s to heads” In what follows, I will support this p this support will I follows, what In Canform be political, critical andmeaningful in art without beingless aesthetic? The intend to argue for two things. Firstly, n Firstly, things. two for argue to intend -garde stylistic techniques within advertising; see Amy Mullin, “Feminist Art and the

“itis not the office of art to spotlight alternatives, but to resist by form

thinking the politics of form. With this shift in thinking of the Withinshiftform. the thinking of this thinking the politics of ional art and in contemporary art. With the help of these two two these of help With the art. contemporary in and ionalart

- functional, meaningless or “aesthetic” (in the traditional traditional the (in “aesthetic” or meaningless functional, on its own on its o. 4, Autumn

oint by examples:oint in exploring depth two one -Winter, 2003, p. 207. has apolitical edgement of this. Art does not give us us give not does Art this. of edgement ot only content only ot g impact. Then, Adorno is Adorno Then, impact. g

ble claims, it is nevertheless an an nevertheless is it claims, ble can have a political meaning and and meaning havecan apolitical - critical impact critical

The Essential Frankfurt School - oriented art is political. political. is art oriented of the political. the of . 136 . hile the form form the hile

135 but this does does thisbut But even if even But

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CEU eTD Collection from the art of pieces debated most the of one been has painting This 1824. in government the by commissioned Symphorien, Salon”, 138 one. polymorphous st publicin space and in museums), Happenings and Situations. Then, the form of Happening a is not fixa and 137 martyrs of Gaul). Christian first the of one (becoming beliefs religious his for death to put was who Symphorien Right” versus Left 1830 early the Frenc in role significant a played religion argues, Shelton Carrington Andrew political. isitself but content from the the bracket political not does formal experimentation The istheory wrong. art postmodern fact that the for the of evidence apiece offers example simply discu example The content. political the obscured” or “bracketed that experimentation” in“formal more invested ‘ the before art modernist while the ‘ the after art (contemporary art postmodern postmoderntheory art and (Douglas Crimp, HalFoster Craig Owens) which holds that function. political entity apolymorphous space as into out comes form (where art in and contemporary art object) tradi in Both stance. political and acritical exhibits of art content than rather form Sometimes, atic geometric frame because the art happening is not an object. In this case, form is a non is form case, this In object. an not is happening art the because frame geometric atic

Andrew Carrington Shelton, “Art, Politics and the Politics of Ingres’s Art: Saint Symphorien at the 1834 Contemporary art deals less with “works of art” understood as aesthetic objects than with Interventions (both tional art (where form (where art tional TheArt Bulle The first example is Jean is example first The (a Secondly

s, “only its significance had become less a matter less had versus become of bad “onlya matter its s, significance good than of

tin

. s already stated s already ssed bellow is an example of “traditional” art (before ‘ the (before art “traditional” of is example an bellow ssed , Vol. 83, No. 4 (December 2001), p. 716. As Carrington Shelton notices Shelton Carrington As 138

The subject matter (the content) of content) (the matter subject The

is a spatially stable entity limited to the physical boundaries of the the of boundaries physical the to limited entity stable is aspatially

- Auguste ) 60s (which, unlike the postmodern art, is an aesthetic art) art) isaesthetic an art, postmodern the unlike (which, 60s

I attempt to reject an influential theoretical position of of position theoretical influential an reject to attempt I 19 th

- The Martyr of Saint Saint of TheMartyr painting Ingres’s Dominique century France art As criticism. Ing art France century 60s) is committed to politicized subject matter matter subject politicized to committed is 60s) 94 )

is not a static, geometric and fix frame but it it but framefix and geometric is a static, not 137

, form can have a po have form can

such a subject “which was as much much “which as was such asubject

this painting was the death of death of the this was painting litical meaning and a a and meaning litical -fix entity but a h public life in res’s scholar scholar res’s 60s). This This 60s). CEU eTD Collection Salon”, 139 . France” of heritage Christian deeply the promote to efforts politicized highly their advanced it nationalist as Paris, in asit was religious,officials Restoration wasbound to appeal to Andrew Carrington Shelton, “Art, Politics and the Politics of Art: Ingres’s Saint Symphorien at the 1834 TheArt Bulletin 139

Figure

2 , Vol. 83, No. 4 (December 2001), p. 713. .

Jean August Dominique Ingres, The Martyr of Saint Symphorien Ingres, Dominique -August

, 1824,

CEU eTD Collection 2001), pp.2001), 711-739. the Politics of Art: Ingres’s Saint Symphorien at the 1834 Salon”, The Art Bulletin 140 sense common the to Contrary not. which and political been has innovation stylistic which indicate will unofficial) and official (both history art itmaking. Sometimes didit Only not. did and sometimes serious knowledge history a of and art of conventions established the to opposition an as emerged art of history from the style conventions meanandmoment. Thisestablished art not any opposing ofnew the the that does mechanisms. power about critical point apolitical or making necessarily without world in the wherever place taken been have could which martyrdom a typical about speaks (abo political is His painting apolitical one. his making art gesture, as opposition an agenda aesthetic his own importantly, promotes Ingres More in been it created. has which context historical as apiece of politi regarded romantics”. i and “the academics” camps:its detractors, into two split public the to “ was called art of this piece that mentioning worth individualism. strangeness and artist’s an of expression to press the Orleanists’ of pursuit the and Christians of persecutions Romans’ the between analogy an from ranging understood, f France”; century institutionalized has which through system been and art produced consume official, the with disappointment deep his express to “attempted system) aesthetic form Symphorien Saint to objected critics its

For more meanings attributed tothe . The main complaint was that Ingres with this “ this with Ingres that was complaint main The . Bu Symphorien make Saint isIngres’s could be wouldlike that I to point the However, As I have mentioned above, this art piece has been highly criticized and what many and of what highly criticized piece has been this art mentioned above, haveAs I t what the art work looks like, its formal features, its style are a form of criticizing criticizing form of a its are style features, formal its like, looks work art what the t

politics of form politics of the of because all) ve

rom the content of this painting everyone understood wha understood everyone painting this of content the rom

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subject of this painting see Andrew Carrington Shelton, “Art, Politics and - critical art only if we know both the aesthetic and the the and aesthetic both the ifonly know we art critical was not the content, politic as it might be, but the but be, might it as politic content, the not was 96

and not because of its content. The content content The content. its of because not and Saint SymphorienSaint Affair

definition of political art (as art with with art (as art political of definition ingrisme”

, Vol. 83, No. 4 (December 4(December No. 83, Vol. , (a highly part (a ts supporters “the “the supporters ts ” and it managed it” andmanaged d in nineteenth tever he or she she or he tever

icularized icularized 140

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CEU eTD Collection Symphorien at the 1834 Salon”, The ArtBulletin (for more interpretations executioner” of his instead victim see be the to seems Andrhe that ew so tortured, Carrington expression Shelton,his and “Art, so contracted, Politicsmuscles and the Politics of Art: Ingres’s Saint th gender; if the lictors are invested with a kind of overblown virility, then the delicacy of Symphorienhis determination verges on to polarize victims and victimizers, – Ingres proportion went so and far as of scale to blur conventionalconsistency distinctions of – everything sacrificed 141 an opposing of agenda formsofaesthetic part his are exaggerated Ingres is that emphasize fo of exaggeration this does from Symphorien What . Saint many characters the of of drawings the the form: foridea of apolitics the of support which offers o aesthetics the Beside making). period the colour that Ingres’s (for painting acolour and reflections light, of lack the complained critics Many fresco. a like gray colour the over in priority line takes whichofwork the art meaningful opposed as drawing theto primacy of in colour of deprecation opposit an of expression the is it that sense the in revolutionary and political, critical, remains form still Catholicism), called case, this (in non ascritics vi bysome interpreted is content if even importantly, More form. through visible made is politics this but on) so and secularism vs. religion despotism; vs. freedom victimizers; vs. (victims critical or political as seen be also here could discussed piece the of content the Nevertheless, content. of politics the on focus the than essential or significant less not is form of politics the to attention the that shows above discussed example Ingres’s content) political e positively effeminate”; while others believed that “The gesture of the other lictor is so tormented , his

There are many interpretations for Ingres’s form The Martyr of Saint Symphori Saint of The Martyr rm mean? rm Here the answer is a matter of dispute matter is a answer the Here in a his purposive making consists style) program or aesthetic systemIngres (his art of - political or non or political

not simply colour but also aerial and linear perspective, compositional clarity, and even

and in the concomitant evaluation of line. This formal aspect is obvious is obvious formal aspect This line. of evaluation inand concomitant the

- critical but justcritical but as conservative and the supporting to his maniacal desire to show off his drawing”; o f line over colour over line f en

too. He proposes the aesthetics of the forceful and and forceful the of aesthetics the proposes He too. , Vol. 83, No. 4 No. 83, Vol. , ion to academic painting and aesthetics. and academicion painting to al al

excess and not the line was the line the was the not and 97 141 , there is in his work another significant item item significant another work his in is there ,

. For instance, some argued that “Ingres has has “Ingres that argued some instance, For . colour but whatever it means, the point I want to to want I point the means, it whatever but

(December 2001), pp. 711-739).

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CEU eTD Collection 143 - re piece; or art the shaping differently or constructing piece/situation/i political Form meaning. and significance from the separated completely according whichformis to n happeningsmay and situations. Then, we be simplifying if things a view we could adhere to art” of “works with less “piece”. even or “work” in of terms described veryis seldom art critical contemporary Actually, object. art the of edge beyondthe goes both. pieceThis emotional but or a larger “framing” islarger construction which intellectual, in piece art aprincipally the way of constructing Moreover, itis not a structure limited to the physicalboundaries of the art object but it’s a be can successfully idea which of an instantiation meaningful is a form On contrary, sight. the first pleases the at what and perceive immediately directlywe and t with opposition in them define still could we but art, political of aspects formal the list to isit difficult culture contemporary in our argue that to used beis done?”) to “What collective art political Russian the of (member Vilensky Dmitry artist al fixity in space. form’s The critic regards in what two the between differences consistent are there nevertheless, but, meaningful aesthet both can be device that critical as a function which art contemporary from excess aesthetic of many examples so have we as long as accurate not is understanding this obviously But on. so and harmonious hose present in commercial art. Hence, form is not just what the work of art looks like, what like, what looks of art work the what just not is form Hence, art. in commercial present hose

Understood as physical objects. physical as Understood we encounter visually a a visually encounter something form words, sensenot In we weis other when which and political is form one, contemporary in and art critical traditional both In - critical art and a way of constructing meaningfully and differently the art art the differently and meaningfully constructing of and away art critical ntervention. For example, dancing in unconventional places is a way of of way a is places unconventional in dancing example, For ntervention. , 143

than with interventions (both in public space and in museums), museums), in and space in public (both interventions with than

ot a detachment of appearances converted into “style” that is is “style” that into converted appearances of adetachment ot ically andsounded. politically 100

Contemporary art consumers and theorists deal deal theorists consumers and art Contemporary

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- parodic CEU eTD Collection other and political conceptual, for room make and accommodate better would Shelley’s) non as aesthetic of the concept an enlarged that argued have understandingnon the as aesthetic of perceptual purely (cognitively dispelfar acertain to should serve have What thus I said resistant. and confrontational critical, of art account aesthetic – aesthetic the of understanding acertain only denounces art from political aesthetic - political between gap 2.5. them. of independently not and contexts temporal and spatial certain within some cases themost relevant element). Bothfo in (and content as the be relevant form as can as political, art In apprehending it. experience we which in situation or context the of changing the with changes it of grasping the nece (not meaning a has also It meaning. of void is museum in kept - are mean that not does This diorama. constructive - re review or art inmuseum, the not situation and or context initial itsin be effective se makes for example, happening, art a of political criticality The everlastingly. not and situation this in context, this in momentarily, meaningful politically piece the butart) it modifications of the ground), computer art and so on. of continuous transformation; or mimicry, poor art, kitsch, self aest an allows and intervenes spectator the in which work” “open or manner; ironical an Conclusions Contrary to many mainstream theories of contemporary art and aesthetics, there is no there and aesthetics, art of contemporary many theories mainstream to Contrary Form

“comes out into space”. space”. This non into “comes out

in all these examples is not a static, geometric and fix frame (as in traditional in (as traditional frame fix and astatic, geometric is not in examples these all

critical art and the aesthetic. The recent widespread dismissal of the the of dismissal widespread The recent and aesthetic. the art critical

– d of aesthetics: aesthetics: of d kin another develops unavoidably so, doing in but, - fixity of form in contemporary political art makes makes art political contemporary in form of fixity 101 rm and content can be apprehended as political as political apprehended be can rmand content

constructed or a documented constructed or happening - perceptual appreciation (James (James appreciation perceptual - mutilation, land art (repeated (repeated land art mutilation, ssarily the initial one) but but one) initial the ssarily -

inflected perception). I I perception). inflected

nse and may may and nse the purist the purist hetics hetics CEU eTD Collection Elisabeth Schellekens (eds.), Philosophy and Conceptual Art 144 aesthetic conduct experience. be to aesthetic ceasingand to political without or courageous a in political Especially alone. form which on) so - ade to “aesthetic” and the confined have Criticism, New (Formalism, modernism of traditions aesthetic to response on more politi the haveI insisted relevant. aesthetically are them of both since response aesthetic spectator’s influence the content and form Both artwork. apolitical of appreciation aesthetic the for accounts form alone that suggest i of significance political devaluated becomes aesthetically the content while piece art of the structure depoliticized the not is form namely that one: different slightly dime form” as. artistic counts what concerning expectations “makes aliminal art political the Even case). art’s eveninconceptual form (not of expense a in embodied is it when than experience of kind another to rise give and meaning different a another, have might article) form in adifferent justice) of social idea say the Theidea same (let’s art. as art political of appreciation the for crucial still is forms in embodied are ideas these way im this (and ways complex Political arts. contested contemporary

Diarmuid Costello, “Kant After LeWitt: Toward an Aesthetics of Conceptual Art”, in Peter Goldie and and Goldie Peter in Art”, Conceptual of Aesthetics an Toward LeWitt: After “Kant Costello, Diarmuid nsion of political of nsion However, the crucial point this chapter intends to make is not that the aesthetic aesthetic the that makenot isintends to chapter this point crucial the However, - critical art is connected more with form than with content, but a but content, with form than with more is art connected critical aginative combination of ideas makes them aesthetic ideas). The The ideas). makesideas them aesthetic of combination aginative form

aesthetic use of its form…its use of aesthetic

as art. Political art is not necessarily an art of content at the the at of content art an necessarily not is art Political art. as rt’s case form can be critical, resistant, aggressive, wit, wit, aggressive, resistant, form critical, be can case rt’s - critical art expands non expands art critical - de pragmaticized, 102

, Oxford, University Press, 2007, p. 113. 144 cal

- conceptualized andconceptualized de aesthetical relevance of form as a a form as of relevance aesthetical

despite having transformed our having transformeddespite our - aesthetic ideas in imaginatively imaginatively in ideas aesthetic most conceptual piece of conceptual of most piece t. I do not want to

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CEU eTD Collection aesthetic. perception ordinary According 146 Studies 145 have cannot we that holds Stolnitz not). or a purpose has object if the or do or not) maysay (or object the in what “interested” is attention not (our art disinterestedly to pay we attention this understanding, to According c means “disinterestedness” critics), art and theorists art aestheticians, contemporary 20 the For aesthetics. modernist of hallmark that. with do to nothing has will, as I argue disinterestedness, . experience” contemplative pure for “prerequisite as the detachment spectatorial the exclu almost understood is disinterestedness light, this in Seen engagement). no and morality, no context, no interest, (no terms purist in disinterestedness define to tend critics art and artists aestheticians, contemporary because ana This conceptual important? is Why this as such. disinterestedness of concept analyze the to firstly attempt I appreciation, art’s in critical disinterestedness of significance for great arguingthe Before demand). voices it many (as of contemporary political in component important interpretations ofit. With this defence

purpose” anyfor ulterior oncern Stolnitz claims that there are two kinds of attentions: disinterested attention Jo CHAPTER CHAPTER hn Andrewhn Bernstain, “Shaftesbury’s Identification of the Good with the Beautiful”, , Vol. 10, No. 3, 1977, p. 308. ept of aesthetics and the the and of aesthetics ept conc paradigmatic the is considered Disinterestedness chapt this In

to him it is only disinterested the attention which underlines aesthetic perception and which makes CRITICAL ART ANDDISINTERESTEDNESS ART CRITICAL 3. er I defend disinterestedness against several influential but mistaken influential severalbut against defend disinterestedness I er

REVISITING DISINTERESTEDNESS: POLITICAL -

- rid rid get not should we and appreciation aesthetic art’s critical

an aesthetic experience of an object, unless we perceive the the unless perceive we an of object, experience aesthetic an (followingJerome Stol , I attempt to prove that disinterestedness is an is an disinterestedness prove that to attempt I , sively in the modernist sense which emphasizes emphasizes modernist sense which in sively the 103 th

century aestheticians (and,for many

nitz’s interpretation of it).

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. 145

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CEU eTD Collection disinterestedness”. of “aesthetic very idea the contradict to seems 149 disinterested. is if aesthetic is art of experience an thesis: disinterestedness with do to has which aesthetic of the understanding an upon relied have years two hundred last of the aestheticians chapter, previous the in d state already I as have so because, is This aesthetically. be experienced that cannot political art -critical 148 interests, contemplative appreh attitude we have to adopt in order to have an aesthetic experience (that attitude consists of suspending all 147 then only and of disinterestedness meanings various the carefully examinemore to need we should be for traditional aesthetics preserved “ general interestedne on light a positive shed can we that claim I appreciation, it dismiss from art to tend and critics art theorists contemporary the and a bad reputation philosophical aesthetic of discourse official the dominates which disinterestedness aesthetic of understanding paradigmatic the least against at (or disinterestedness” “aesthetic against directed aggressively p to eager are artists political seems that disinterestedly appreciated be and experienced whichcannot of art political that should we concede or art, concerned politically attending in disinterestedness instance of aesthetic an preserve it. to Is possible then to response appreciat the and apprehension (the art of this purposes” rior “the ulte about care will viewer the because experienced be aesthetically cannot art critical political disinterestedness, of understanding this established If accept we art. appreciating detachment, which requires attitude acontemplative interpretation), purist this (in entails Disinterestedness ). attitude contemplative disinterested, a (with way aesthetic in acertain, object obsolete

Political-criticalart is many political that idea the we accept Once an is attitude Aesthetic experience. aesthetic for condition a necessary is attitude aesthetic theorists these For

But, although in contemporary discourses about art in general, “disinterestedness” has has “disinterestedness” in art general, about discourses contemporary in although But, than apassive rather art, an of active use about more talk can we case, in Thus, this - political (and ”

and contested disinterestedness and contested

passivity andfrom takingdistance daily problems and concerns when s critical art in particular) without radically displacing the traditional, traditional, the radically displacing without in particular) art critical ). 149

ension and psychological distance). psychological and ension times a transgressive, offensive or violent art, mean t to provoke a reaction. It It a reaction. provoke t to mean art, violent or offensive a transgressive, times

critical art cannot be experienced disinterestedly, we have to concede concede to have we disinterestedly, be experienced cannot art -critical . This does not mean that all categories of the all of the not meancategories that does This . roduce a type whichisintentionally of art and

104 political - critical art appreciation. As I will argue, As willargue, appreciation. I art critical

ion will be an interested one). interested an be will ion ? 148 -

critical art is that type istype that art critical art in in art attending in ss At thefirst glance,it

147 -

CEU eTD Collection 151 with the world outside of art, of and disengagement finally attitude with aesthetic psychological contemplative, a distancallowed”, interest “no purpose”, ulterior any for concern Both . categories, on) so and mistakenly allowed, assume that disinterestednessinterest has to dono with “no contemplation, passive means disinterestedness (where manner disinterested in a be experienced can art cannot and should not be apprehended in disinteresteda manner, and (2) those who claim that political 150 manner). a disinterested in and interested in an both is experienced art political way this (in one interested an mode to adisinterested from attention switch our to condition: with one art political of apprehending sheand that interested has found we amiddle both disinterested have ground: can appreh and adisinterested interested between an find middle ground to a attempts contemporary one) - critical from disinterestedness completely reject to trying without issue, this tackles art of philosopher whenleast case, acontemporary one isthere Yet, at art. political and disinterestedness on contempo the is This manner. disinterested in a ded apprehen be not should aesthetic theory dominant acertain, and with critical consensus art apowerfulissue with both my takes Then, free). approach interests and purpose anyfor concern ulterior piece without an art meanpassively contemplate not to does propose - re place infirst be the to needs concept very the disinterestedness, of suitability the and for grounds contemporary the consider engagement and especia art, in appreciating claim that LucyLippard) or unacceptable suggestwebe willin which the position to oneismoreis and which appropriate one

Peggy Zeglin Brand, “Disinterestedness and Political Art”, in Paradoxa in Art”, Political and “Disinterestedness Brand, Zeglin Peggy In other words, I disagree with two categories of theorists: (1) those who claim that political-critica ending of politically concerned politically of ending Political political art’s appreciation. One of th of One appreciation. art’s political , isthere no con

disinterestedness than rather in critical a critical in - critical art is usually understood as that type of art (or arts) which cannot and which arts) cannot (or asart type of that isunderstood usually art critical

rt’s appreciation. rt’s disinterestedness flict between

art is undertaken by Peggy Zeglin Brand Zeglin by Peggy is undertaken art

Contemporary philosophers of art (Arnold Berleant evaluated and re evaluated is more appropriate. I claim that if we want to to if want we claim I that appropriate. more is . 105 150 emost important (to my knowledge, the only

I would have to say more on that later later say on. on more I to that wouldhave e. e. and and

- visited. In the perspective I will will I perspective In the visited. e , No. 8, November, 1998. November, 8, No. , ngagement lly politically concerned art, art, concerned lly politically

(to be disinterested be disinterested (to rary “consensus” “consensus” rary . 151

She holds holds She l art art l critical -critical

CEU eTD Collection 559). Aesthetic”, the and “Art McGregor, (Robert 152 bargain). for sake of a the interest pecuniary the only (like interests of Shaftesbury Wismatts’s), Beardsley’s Bullough’s, (Stolnitz’s, interests all experience from aesthetic eliminates which disinterestedness 20 the Unlike Shaftesbury’s. with identical completely be). cannot attention while the disinterested moti of matter a as disinterestedness of thinking to attention mode of a as disinterestedness (poli interested between “switch” (the perception and attention to disinterestedness reduces she still because apprehending not viabledoes foroffer the disinterested a solution politically of in core the exactly resting difficulties of the Brand) because to maintain the centrality of adisinter centrality maintain the to because Brand) or by Stolnitz proposed manner that (as in adisinterested be experienced cannot art political that argue I section, last In the experiencing. art’s in political attentions”) of switch (“the Brand’s evaluates five critically Section appreciation). aesthetic art’s in political “engagement” and “disinterestedness” between conflict no is there that prove to (attempting appr disinterested in be out ruled cannot interests cognitive least at how show I section, third In the appreciation. art’s from political disinterestedness reject who theorists contemporary issue withI those take 20 (the modernist the 18 (the Shaftesbury’s

RobertMcGregor holds that attentionprimitive, is that is,attention doesdividenot up into different kinds

vations and reasons (on the grounds that our motivations and reasons can be interested or or interested be can reasons and motivations our that grounds the (on reasons and vations What What because especially bemay questioned still account Brand’s will that I argue However, In 18 thefirst (the section traditional of this the chapter,both I discuss I propose instead is- are instead propose I tical) and disinterested (aesthetic) attention is the core is argument). core of the her attention (aesthetic) disinterested and tical) eciation of art. Section four discusses the idea of “reflective contemplation” contemplation” “reflective of idea the discusses four Section art. of eciation th th

century) meanings disinterestedness. term the century) of century understanding of the concept) even if, a if, even concept) the of understanding century

Journal of Aesthetic and Art Criticism thinking of disinterestedness by changing the focus of of focus the changing by disinterestedness of thinking 152 of her argument – argument her of 106

This understanding of disinterestedness echoes echoes disinterestedness of This understanding opposes dis ested attentionmeans to sustain the interestedness th “the switch of attentions”. She She attentions”. of switch “the

century understanding of understandingcentury of , Summer, 1974, pp. 549-

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CEU eTD Collection “exper of kind This purposes. or interests having inmind another piece itself, without for art the to attention response aesthetic A disinterested piece. art an aesthetically” experiencing for “prerequisite is interests all of elimination This response. aesthetic the purity of the shadow an aesthet have To art. to account aesthetic purist the echoes requirement This quarantined. are interests in all which object, aesthetic of the aspects perceivable the to exclusively confined attention), of perception sort mean: aspecial 20 (the understanding aesthetic modernist a Ininterest. havinglost or bored meanbeingindifferent, not be does to disinterested diff at denotes concept this Whatever century. Eighteen with the . 3.1 art. critical in appre disinterestedness maintain to recommendable and possible both is ends attitude denoting an ethical is word a“noble” Disinterestedness interests. selfish pecuniary or to it is but absence opposed lack not is interests the or of all it). Disinterestedness with identical cen 18th the to closer extent some - political for suitable seems which disinterestedness of kind The judgments. andjudgments political moral of independence means which attitude aesthetic

Disinterestedness in the Light of the Eighteen Century and After ) and not a privative concept as the absence of all interests. The conclusion will be that it be that will The conclusion interests. all of absence as the concept aprivative not and) The concept of disinterestedness has a long history in philosophical aesthetics, starting starting aesthetics, in philosophical history long has a of disinterestedness The concept (disin ic experience of an art piece you need to quarantine all interests which could which could interests quarantine all to need you piece art an ic of experience

terested in taking advantage, profit in advantage, taking terested iencing” is “aesthetic”. called iencing”

or or tury understanding ofit (but, as I willshow, it is not atten tion th

107 century’s aesthetics) the concept has come to has to come concept the aesthetics) century’s

(whichis differentfrom regular perception or

or achievingmorally or some questionable critical art apprehension is to is to apprehension art critical erent times, a thing is certain: certain: is thing a times, erent

he - political nding

means to pay pay to means CEU eTD Collection (like the afterlife, sanctify, etc.). some people an intrinsic value pursued for is God of love the example For value. exchange have doesn’t it because else something to achieve order in 154 153 experiences normative aesthetics. of school British Addison, Shaftesbury, of writings etc. involvement, pu ulterior no interest, (no sense its purist in of disinterestedness concept the understand have we mean to that not will as this I does argue, However, art. critical political aesthetically accommodate to attempts which approach anfrom avoided simply be cannot of disinterestedness the question aesthetic experience), to in relation (especially distance. psychological attitude, aesthetic contemplation, like: terms other tied to is conceptually disinterestedness As know, we as art. art of appreciation correct and full of kind any for prerequisite the is disinterestedness 20 of the theorists attitude Aesthetic is). (and still art of theories for aesthetic the as an argument very often it hasbeen used and disinterestedness disinterestedne aesthetic the of This understanding aesthetically. which we is something attitude aesthetic of the as part attention Disinterested purposes. ulterior or anyinterests without appreciation of our object the on exclusively focusedis attention in our which art of contemplating aesthetic usefulness their from apart were themselves, goodin that actions and distinguish things to order

An intrinsic normative experience is that experience of immanent value. An immanent value cannot be used be used cannot value An immanent value. of immanent experience that is experience normative An intrinsic Especially Jerome Stolnitz, Eliseo Vivas, Edward Bullough, Francis Coleman, and Veron Lee. In order to experience something aesthetically we need firstly to adopt adis adopt firstly to need we aesthetically something experience to In order the eighteenth century eighteenth in the developed hasbeen of disinterestedness The concept attitude. What attitude. of this conception, contrasted “ contrasted conception, this of fathers the of one Shaftesbury, Thus . It is an attitude we have to adopt if we are to aesthetically experience something. something. ifaesthetically experience adopt are to is have we we to attitude It an ).

. 154

is a disinterested attitude? A disinterested attitude is a detached way is way adetached attitude A disinterested attitude? is adisinterested

At At

the beginning, the concept has been used concept the beginning, the At that time, disinterestedness

just for the sake of it, without expecting any recompense in exchange exchange in any recompense expecting without of it, sake the for just Alison, Alison,

Due to i to Due should do should Hume, Burke, Hutcheson, and others from th from others and Hutcheson, Burke, Hume, 108 ts centrality in the aesthetic approach to arts arts to approach in aesthetic the centrality ts ssis themost popularinterpretation of experience to if want we th has has

century intrinsic intrinsic identify to served

in the moral context in in context moral the in 153 rpose, no emotional

have argued that that have argued a piece of art art of a piece

interested interested

in the the in the the e - CEU eTD Collection http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=390 Contemporary in Aesthetics”, Disinterestedness thereby disrupted the purity of his response - flowersfood,complaining than rather depiction realistic that and feel ofherrings the likemade him hungryand 156 Vol. 1, 2003, source: 155 attitude the to according which disinterestedness, aesthetic of version (a attitude” “aesthetic deal disinterestedness allowed” will “pure, is disinterestedness for second the beauty and, of h which from taste of judgment the of moment first is the disinterestedness former, For the treatment. and Kant Schopenhauer’s through (aesthetic) art of contemplation the separate not does Shaftesbury contrary: the on claim), aestheticians contemporary some (as art of contemplation with disinterested do to nothing has usage ethics and religion.Afirst conclus in its origins has in aesthetics key concept as the disinterestedness, in keep mind that have to We appreciation”. art of morality “the of talking as well, art of sphere in the it integrates he concept this tackles When Shaftesbury disinterestedness. of theories political of appreciation aesthetic anfor appropriate more is art appreciation to in relation disinterestedness of initial understanding this because lately, has developed theory aesthetic which upon disinterestedness of understanding initial in the interested am I forth here. put to want I argument the for crucial nevertheless isit Shaftesbury intrinsic serving “ God disinterested love of God” accessed 6August 2013).

Schopenhauer, for example, greatly admired Dutch interior paintings, but stipulated that they shouldbe of Contemporary in Aesthetics Disinterestedness”, on “An Exchange Hepburn, Ronald and Berleant Arnold See The next step in aesthetic disinterestedness’s history is the “refinement” it received it received is “refinement” the history in disinterestedness’s step aesthetic The next . 155 . 156 from moral concerns in moral particular. from concerns

. Even if this is just t just is if this Even .

Let us Let In the 20 the In for interest merely”. The disinterested love of God has then value that is entirely is entirely hasvalue that love then of God The merely”. disinterested interest for http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=209

keep in mind this first disinterestedness understanding of mind in this keep

ing with both the origins of aesthetic disinterestedness and with with and disinterestedness aesthetic of origins the both with ing th

century, Jerome Stolnitz engages again in the theory of aesthetic aesthetic of in theory the again engages Stolnitz Jerome century, , a love, itsfor own pursued sa

he historical background of the concept of disinterestedness, of disinterestedness, concept of the background he historical ion will be that the concept of disinterestedness, in its first infirst its of disinterestedness, concept the beion that will see Norman Kreitman, “The Varieties of Aesthetic of Aesthetic Varieties “The Kreitman, Norman see , Vol. 6, 2006, source: source: 2006, 6, Vol. ,

109 e claims the universality of aesthetic judgment judgment aesthetic of universality the claims e - critical art than the 20 the than art critical ke, with the mor the with ke, - less contemplation”, “no interest interest “no less contemplation”,

(last accessed 6August 2013). ion of disinterestedness, disinterestedness, ion of e common motive of of motive e common th

century aesthetic aesthetic century

offered by by offered

(last (last

, CEU eTD Collection 55, No. 4. (Oct. 1994), p. 631. 159 158 157 Shaftsbury, For in arts. interest high and a taste of possession the ingredients: two time, that of England in incorporate, to had Politeness “politeness”. especially and “manners” as of conception traditional the to related Bildungsideal Revolution. En 1688 the after which appeared movement a manners, the of reforming movement the to of attention lot a paid Shaftsbury fact that the account into if take we claim this understand contem The Moralists work Shaftsbury’s offered and writings Shaftsbury’s researched Mortensen Stolnitz’s then right, is Mortensen Preben historian the If claims. these doubt to evidences historical and reasons strong have we that think I concerns. political or moral from appreciation purpose”). anyfor concern“no ulterior and appreciation” in allowed interest art it “no dness as (as he understands disintereste aesthetic the of origin next sections. For themoment it worthmentioning, that Stolnitzfails to account for a correct non from is formthe by it it i has beenhelps Stolnitz, that conceptualized in aesthetic disinterestedness to attributed main The “usefulness” aestheticians. contemporary the hunting still are arguments core its and aesthetics modernist of hallmark the become have considerations theoretical These experience). aesthetic for condition necessary is a theorist Dickie and Richard J. Sclafani (eds.), St Martin’s Press, New York, 1977. New York, Press, Martin’s St (eds.), Sclafani J. Richard and Dickie

Preben Mortensen, “Shaftesbury and the Morality of Art Appreciation”, Appreciation”, Art of Morality the and “Shaftesbury Mortensen, Preben Ibidem Jerome . his contemporaries” to acceptable morality within a of art plation The idea was to introduce new behavioural introduce idea was to The He .

Stolnitz, “On the Origins of Aesthetic Disinterestedness” of Aesthetic Origins “On the Stolnitz, -

aesthetic experiences and art fromnon art and experiences aesthetic claim that Shaftsbury liberates the aesthetic from the moral is erroneous is moral from the aesthetic the liberates Shaftsbury that claim

assumes

according to which duellingswordsmanship, horsemanship, according to

that Shaftesbury was the first philosopher to liberate aesthetic aesthetic liberate to philosopher first was the Shaftesbury that

, to sustain that “Shaftsbury’s aim was to situate the honour 110

should be replaced should - art. If this is so or not I will discuss in the in the discuss will I not or so is this If art.

ideals among the gentleman, a sort of of sort a gentleman, the among ideals ,

157 in in

Aesthetics: A Critical Anthology ACritical Aesthetics:

pieces of textual evidencefrom

Journal of the History of Ideas

with “new behaviours “new with n discriminating aesthetic aesthetic discriminating n

and other activities activities other and 159

We can We can , George George , ” such ” such , Vol. Vol. , glish glish . 158

CEU eTD Collection 162 161 55, N 160 is a of appreciation art disinterested of art, modern philosopher For the it “attitude”). call(they moralit or with politics to nothing has (it experience is autonomous an art of experience aesthetic the them, For ways appreciation. of different which require aspects separate completely are morality. of realm the – morality of sphere the beyond contemplation aesthetic disinterestedness public, art’s al politic contemporary for most ofhis contemporaries – – similar and ostentation, avarice, covetousness, luxury, with identified be not isto which away things, isadmiring moral of way a there assert that to “he wants out, points as Mortensen but, morality of sphere from the beauty of contemplation the separate not does He direction. opposite the in goes argument Shaftsbury’s mistake. a is this But religion” or experience autonomous an as sense, modern in the “aesthetic” term the applies Stolnitz with, agree I and disinteres with the meaning, as close, . advantages” ca “we words, Shaftsbury’s in or, bargain a sake of the for interest the interests: of type aspecific to “disinterestedness” Bildungsideal this of light the in understood be should be separated not manners could and morality

Idem Idem, Appreciation”, Art of Morality the and “Shaftesbury Mortensen, Preben o. 4. (Oct. 1994), p. 631. , y) and in order to have this experience the spectator should adopt a disinterested stance stance adisinterested should adopt spectator the have experience to this in order y) and

Unlike Shaftsbu Unlike The disinterestedness term p. 637. p. 635.

– , 161 160

“in which it refers to something which is independent of, for example, morality formorality example,independent something of, is “in whichit to whichrefers

This is the 18th century understanding of disinterestedness. centuryThisis understanding 18th the and he attributes this meaning to Shaftsbury’s concept of disinterestedness. of disinterestedness. concept Shaftsbury’s meaning to this and he attributes

ry, Stolni ry,

immoral qualities” immoral ll interested pleasure: riches, power and other exterior exterior and other power riches, pleasure: llinterested tz holds that holds tz

applied to beauty (art) in Shaftsbury’s conception is very very is conception Shaftsbury’s in (art) beauty to applied ted love of virtue and God. But, as Mortensen suggests suggests as But, Mortensen and God. lovevirtue of ted

111 the moral aspects and the aesthetic aspects of art of art aspects and aesthetic the moral aspects the , and the content of his moral his of content the and , . 162

Therefore, for bo but one that situates it exactly within

is not a category which takes takes which acategory not is . Finally, Shaftsbury opposes opposes Shaftsbury Finally, . Journal of the History of Ideas th Lord Shaftsbury and and Shaftsbury Lord th

to Shaftsbury and and Shaftsbury to - aesthetic view view aesthetic , Vol. Vol. ,

CEU eTD Collection New York, 2003, p. 174. 163 Even disinterestedness. when pursue we interests some have we Bourdieu, for words, other fairy talesince thereis always aninterest promoting the disinterested reason sufficient hum that posits He of action. hisfrom theory disinterestedness of rejection influential Bourdieu’s by Pierre reinforced especially is one, acritical disinte of kind any there Is if: ask theorists Many possible. not is mind of state disinterested a is achieving arguedin that It apprehending art’s and theorizing. be contemporary accepted amodernist considered Artand Theory? . 3.2 c disinterested understanding of whichideology this purist toward iscultural and an there politics a become(s) the of appreciation the Then, of art actually containssocial and politicalbeliefs (culturalhegemony’s politicalbeliefs). the beginning of the 20 d This particular apolitical. not is enterprise autonomous an as art appreciation about discourse” “disinterestedness the has argued, Mortensen as But purpose). or use any of outside it, of sake the for just perceived object an of experience experi autonomous an experience aesthetic makes which requirement

Preben Mortensen,

Is Disinterestedness Any Longer an Operational Term for Contemporary Aesthetics rest In contemporary art theory, disinterestedness theory, art In contemporary edness possible at all? all? at possible edness

. elite” in cultural membership and of for asign a requirement ontemplation amounts.

(without interests). In an “ethics of generosity”, the disinterested act is a just act disinterested the of generosity”, In“ethics an interests). (without

Art in the Social Order: The Making of the Modern Concept of Art

term having to do with detachment and contemplation which cannot cannot which contemplation and detachment with do to having term

century. The requirement of disinterested contemplation/appreciation contemplation/appreciation of disinterested The requirement century.

right kind of art “in the appropriate manner (disinterestedly) manner (disinterestedly) “inappropriate the art kind of right As we can see, the common attitude toward disinterestedness disinterestedness toward attitude common the see, As can we

112

has abad reputation. has iscourse gainedhegemony culturalin an beings cannot a cannot beings an - generous disposition. In generous disposition.In , State University of 163

Many times it is is it times Many ence (a “pure” “pure” (a ence

In other words, ct without a CEU eTD Collection and contemplativ be detached is to it difficult situations new In these less or more andephemeral. dependent context are which in situations aesthetic and converted is pulverized often object aesthetic re multiplied, a multifaceted: canpiece more of now be art more has become and Our visual experience of technology. advance with the emerging of art forms for newthe account to incapable relic academic an has become contemplation disinterested Dickie), Shusterman, Berleant, (Danto, art of philosophers many contemporary For moral deliberation. acute and reactions visceral co the On mode of apprehension. disinterested the to integrated be to refuse obstinately pieces art contemporary many reactions, visceral provoking deliberately By allowed”). interest “no and as detachment understood (officially disinterestedness menacing theemotionally and ethically distanced perspective associated with aesthetic by constantly disinterestedness to challenges substantial pose to seems cruelty and violence but on contrar the by activated disinterestedness norm not are official the becomes in disinterestedness which contexts aesthetic and social isthe that conclusion it. prove Bourdieu’s youhave to noblemanand you because but are a being generous in motivated by fact a norm, likesocial The so perspective. Bourdieu’s “gent and God” of love “disinterested Shaftsbury’s Hence, actions. human all among disinterestedness recompense and There so on. is another alwaysform or a intentionalof and purposeful by motivated a symbolicfact form of profit: the achievement of sanctity, theafterlife’s in actions are man’s disinterested holy example, For the profit). (symbolic capital symbolic aform for of interest an actionrests disinterested most be the to which appears act the behind Contemporary art, with its elements of shock, trasgresivity, abjection, repulsion, repulsion, abjection, trasgresivity, shock, of elements its with art, Contemporary lemen’s disinterested politeness” would be regarded just as chimeras from from as chimeras just be regarded would politeness” lemen’s disinterested - - re enacted, e and to bracket all bracket interests. to e and activated with the help of the computer or re or computer of the help the with activated - called “disinterested generosity” in an aristocratic context is is context in aristocratic an generosity” “disinterested called noblesse oblige 113

. You are not generous for the for generous not are You . y .

ntrary, they demand demand they ntrary, - thought and the andthought the

sake of sake of - CEU eTD Collection pay a special sort of attention/perception to it. to of attention/perception pay sort aspecial we because and art”) not “great (or is it art piece know we because is art aesthetic beautiful, pi abeautiful/aesthetic Lisa”“Mona as which see we through eyeglasses special no are There perceptual and acabbage. Lisa” “Mona of existence (non regular and (aesthetic) be divided in cannot special perception attention and By token, same the argued). has been it (as of experience sort not aseparate/special is Disinterestedness understanding. modernist poss thingsinstead of being by captured imagines’ the surfaces. apparent to imagines, reacts learns, who anparticipant but active receiver) passive/contemplative The viewer spectatorship. - de object aesthetic the an 164 “ne this In sort. this of example aesthetics” “relational Bourriaud’s Nicolas public. and artist between situatio aparticipatory create point of many contemporary in 20 the art mode of experiencing disinterested make di the attendants from require their arts contemporary the involvement bodily and emotional of cognitive, eighteenth to beenhave appropriate

Nicolas Bourriaud, “Relational Aesthetics”, Les Presses du Reel, 1998. Reel, du Presses Les Aesthetics”, “Relational Bourriaud, Nicolas aesthetic aesthetic ible to assess contemporary grounds and suitability for disinterestedness if we revise its its if revise we disinterestedness for suitability and grounds assessible contemporary to However, in spite of all these rejections of aesthetic disinterestedness, I claim that it is claim I that disinterestedness, of aesthetic in rejections these of all spite However, I don’t know if a disinterested attitude (in the sense of that d of that sense the (in attitude if disinterested know a don’t I situation

(the emphasis is removed from the aesthetic object alone). Not only is is only Not alone). object aesthetic the from removed is emphasis (the attitude attitude aesthetic sinterested emphasized in this new aesthetics but also the very idea of of also veryidea but the aesthetics new in this emphasized - - aesthetic). The same kind of perception acknowledges both the the both acknowledges perception kind of The same aesthetic). spectator is no longer a spectator (in the sense of a of (ina sense the longer is a spectator no spectator critical critical

n in which the art event is the result of the direct interaction interaction direct the of is result the event art the which inn w” aesthetics, the art the aesthetics, w” - century art (most probably not) but, nevertheless, the sort sort the nevertheless, but, not) probably (most art century art productions and practices whose focal purpose is to is to purpose focal whose practices and productions art 114

century fashion, would mean to miss the the miss to mean would fashion, century - ece of art. If we regard “Mona Lisa” as a “Mona as a If Lisa” art. regard we ece of object a troubled maintain notion. To a - process

- escribed by Stolnitz) may bymay escribed Stolnitz) practice is experienced in is in practice experienced 164

is just one single single one just is CEU eTD Collection (eds.), 166 public and artist between interaction of the result the is piece art the that sense the in practice art collaborative a is it Usually 165 a to hasleaded modernity of tradition in philosophical the is understood disinterestedness of concept the in which The way theory. art and aesthetics for consequences misr he view my In means disinterestedness is that . 3.3 follows. inis what so this think I why willexplain I art. of evaluation aesthetic contemporary for concept a plausible t aesthetic percepti kind of a special is aesthetic perception that not and manner in see art this to is gaze educated that is answer so? The is Why acabbage. this and not art of a piece is see we what that awareness object everyday regard we way from the differs which way, in certain a art regard we sure, For back”? “standing this is exactly what art relational/collaboration appreciate we when even back” “standing . of disinterestedness” concept the understand we unless theory aesthetic modern understand theory. aesthetic Western art appreciation. heorized by 20 heorized the

Jerome Stolnitz, “On the Origins of Aesthetic Disinterestedness” of Aesthetic Origins “On the Stolnitz, Jerome Relational art is that art which takes as its point of departure the whole of human relations and social contexts.

Cannot B Cannot Interests Cognitive Aesthetics: ACritical Anthology attention, there is a sort of of sort is a there attention, or perception (aesthetic) special no is evenif there Yet, The 20 The been has it in which in way the disinterestedness, aesthetic that is conclusion first The . art) (or

ss in aesthetic theory theory aesthetic in ss of disinterestedne concept of the understanding century but we see something as aesthetic if our gaze is educated to see that way. see is to gaze that if educated our but as see aesthetic we something on (differenton from

This is the paradi the is This th ead it and unfortunately his misinterpretation was not without negative negative without not was misinterpretation his unfortunately and it ead

century aestheticians (and also in contemporary pronouncements) is not not is pronouncements) contemporary in also (and aestheticians century

Stolnitzmakes this point clear whenhe claims that “we cannot

no c , St., Martin’s Press, New York, 1977. e Ruled O e Ruled oncern any for ulterior purpose gmatic sense in which disinterestedness is understo disinterestedness in which sense gmatic

just see just We don’t perception). average s. We see and appreciate “Mona Lisa” with certain certain with Lisa” “Mona appreciate and Wesee s. 115 ” “Aesthetic by ut ,

in George Dickie and Richard J. Sclafani Sclafani J. Richard and Dickie George in

Disinterestedness

and and , 165 no inter

but the question is: thebut question

est allowed in something as something as

od in od

166

CEU eTD Collection 1. 167 reflecting and amplifying the other” “convex as mirrors andhave each art two sustaining, cognition that stood always Arts his in claim interesting very a makes Solso, L. Robert “curiosities”. expe interests, all of elimination possible (i.e., is this not amI that afraid artwork. the experience aesthetically our attention concentrate to and “curiosities” the all suspend should we artwork the of attendance aesthetic have an into order that say would he defender, attitude’s As aesthetic an art. of apprehension co the both forbid aesthetics, and of art understanding autonomist and aestheticism purist His appreciation. and experience aesthetic bargain, advantag selfish or personal with do to having (those wants our of some out rule to namely: different, considerably something but allinterests rule out mean not to does disinterested time same the At something. aesthetically experiencing for condition necessary as a attitude) (disinterested appreciation. and experience aestheti our foreground will always interests because these of art appreciation and experience from aesthetic be removed cannot one) cognitive the (like interests Some disinterestedness. political i interestedness on light apositive shed We can allinterests. not us with W in consensus

Robert L. Solso, Cognition and the Visual Solso, Arts L. Robert e and purpose. Among others, Jerome Stolnitz is well is Stolnitz Jerome Among others, but disinterestedness by be ruled have aesthetic to out interests some isMy that claim -

critical art in particular), without radically displacing the 18 the radically displacing without in particular), art critical public and recognition on). so

only on the purely formal ontheonly purely Failing do art. of so qualities wouldmean to failing to , disinterestedness is not a privative concept but an ethical one; to be be to one; an but ethical aprivative concept not is disinterestedness , estern aesthetic theories of art that art is something which has nothing to do do nothing to has which art is something that art of theories aesthetic estern Involuntarily, our “eye” our Involuntarily, etc). hopes beliefs, ctations,

We cannot simply impose on us to achieve such a state a state achieve such to us on impose simply Wecannot . 167

A further interesting claim is that we see we both is that claim interesting further A , MIT Press, , MIT Press, Cambr gnitive and the ethical stance in the disi in the stance ethical the and gnitive 116 - known for his anti his for known idge, Massachusetts and London, 1994, p. n attending art in general (and (and general in art attending n Cognition and the Visual Visual Cognition andthe th -

cognitive approach of of approach cognitive century, old century,

will safeguard some some safeguard will - fashioned fashioned nterested nterested with the the with e, e, c CEU eTD Collection 4. 169 168 mind see we our own at core, but the ideas, and science, music, literature, art, appreciate “on we surface the So, elements. cognitive some reception into bringing involuntarily functions, perception our which in way the of because mind, of state reach this to able be not still would we it aesthetically, perceive we when an object” about knowledge in gaining . seewe art” – beholder the of eyes the nature? its in cognitive is perception our long as as it, reach all to at it possible Is be: will question the then, but experience, aesthetic pure the for is needed attitude this disinterested that understand I it). attitudeisdisinterested necessaryfor achieving keeping and the pure the it, enjoy to and aesthetically object an experience into order that, saying basically is he an object, about in knowledge gaining interested be not should we that suggests he (when interest” “cognitive calls Stolnitz what with thing same exactlythe not is perception” graspi in and “underst and “seeing” of association this believe that non incase offunction the thisanalogy will (and that visual think arts I of direction the in discussion the move I If cars. by killed getting without world dimensional in move a around everydayin life of to helps seeing this us nature saying that dual brain” by the signals sensory of interpretation the accurately p More involves the observer’s cognitivebackground, whichmeaning confers such to experience. brain

Robert L. Solso, CognitionVisual andthe Arts Solso, L. Robert Idem, and

p. 4. p. The conclusi The “cognitive our that fact of the aware am I perfectly speak. to so eyes think, Our with visual means theThis eye. that our is limitednot sensory, perception but to

169 ng the meaningng the the artworks. of

So, even if we want to follow Stolnitz’s requirement to suspend any “int any suspend to requirement Stolnitz’s follow to want we if even So, ut it: “seeing isut both through accomplished the visual stimulation of eye and on is that beauty, ugliness or elegance of art is more in the mind than in in than mind the in more is art of elegance or ugliness beauty, that is on or, as Solso puts it: “we think art as much as, no, even more than, than, more even no, as, much as art think “we it: puts Solso as or,

, MIT Press, Cambridge, Massachusetts and London, 1994, p.

117 . 168 anding” is unavoidable, both in enjoying in enjoying both unavoidable, is anding”

Solso continuesline by his of argument

feeling and perception of - visual arts as well), I I well), as arts visual

three erest erest - CEU eTD Collection vocabulary artistic the 171 170 factors historical art all of independent and outside not and context historical work the of what interest acognitive having Moreover, as art. art appreciate to if want we be overlooked cannot and attending merely beyond the go labelling interpreting, like activities cognitive whatknowing work of the is about interest the in is interest cognitive A disinterestedness. discharging or undermining without dimensions semantic and allegorical aspects, historical, art historical,societal, everyday or political percept immaculate andThe so on. use of art our of appreciation art, influence our interests our and context experiential The day. next the childish and boring appear may drollness and wit e way same the in art of work “no of senses in the disinterested and independent context not are art to responses Our on). so and history personal prejudices, and human mind (as well as: emotions, moods, think us makes elegant or neutral sublime, scary, beautiful, of art unveiledinstuff” this wonderful not helpful and it misses the point of this art’s relevance art’s this of point the misses it and helpful not is conditions social of a awareness cognitive out rules which case aperception art’s political means. In art whatever miss entirely is to itself in apiece perceive just To too. experiences of the Commonplace the of

Arthur Danto is right to insist that we cannot make sense of the work itse Idem,

ion is a myth while the aesthetic grasping is a very complex enterprise containing: containing: enterprise veryis complex a grasping aesthetic the myth while ion a is Having a cognitive interest is a necessary condition of appreciating the art piece piece art the appreciating of condition necessary is a interest a cognitive Having piece art the between acommunication nevertheless entails, experience The aesthetic p. 7. p.

–

that the piece of art is beautiful, scary, sublime, neutral or elegant. or neutral sublime, is scary, beautiful, piecethat the of art and, of course, emotional, imaginative and philosophical (reflec imaginative and philosophical emotional, course, of and,

, Harvard University Press, 1983 Press, University Harvard , artist, the issues the piece piece the issues the artist, the of very time we look at it. A painting that one day seems to express express day one seems to at A that it. look painting very we time

. 170 - interest allowed”. On the contrary, we don’t respond to a to respond don’t we contrary, On the allowed”. interest

More accurately put it, to understand what makes a piece makes apiece what it, understand to put accurately More several several entails about is work the what of Knowing . ) 118 , recognizing or associating. All these activities All activities associating. these or recognizing ,

talks about and so on (Arthur on so Danto, The Transfiguration and about talks

to us entails an understanding of what what of understanding an entails us to

idiosyncrasies, convictions, believes, believes, convictions, idiosyncrasies, .

is about lies always within the art art the within always lies about is lf without at least partially knowing . 171

For the naïve naïve the For

tive) tive) CEU eTD Collection require not does contemplation a disinterested alreadyinvolves personal our background (cognitive, political, emotional). or In wor other it apassive and one not is contemplation this something contemplate we When meaning. Contem piece. both requires contemplation “blank cow being time same the at without one be adisinterested can Contemplation appreciation. passive or distracted adetached, not is contemplation this art, of piece a aesthetically contemplate ifwe even But artworks. aesthetically apprehending for requirements the of is one contemplation Disinterested so on. and distance psychological attitude, contemplative appreciation, detached for), good object is the what of terms (in appreciation of object in the under is customarily disinterestedness mentioned, As already clear. claim make to this attempt I Now, and engagement. . 3.4 it. of apprehension adisinterested then have can we only and in“aboutness” its interested be to piece about, is art the what know Wehave to art. si these and beautiful it finds he but about is piece art the what know not does he claims that aspectator inwhich asituation imagine cannot I place. infirst is the about artwork properties aesthetic the identify may unfortunately, but no way pleasant isviewer that not to soundthere this requirement

Disinterest tuations exist (maybe my imagination is limited) then that spectator misses the point of point misses the spectator then that limited) is imagination my (maybe exist tuations When we experience political experience When we disinterestedness conflict between isno there claim that with the this chapter started I - like stare” (inactive and a cognitively non acognitively (inactive and like stare” plation leaves room for an imaginative participation in the work’s nature and and nature in work’s the participation imaginative anfor room leaves plation edness and Engagement: Reflective Contemplation Reflective Engagement: and edness an involvement/engagement with and with involvement/engagement an

which belong to the art piece without knowing what the the what knowing without piece art the to belong which stood in aesthetic theories of art as entailing no interest interest no as entailing art of theories in aesthetic stood - critical art by contemplating it, this aesthetic thisit, aesthetic contemplating by art critical 119 setting aside who wewho aside are setting

- infected perception). infected

a detachment from the from the a detachment

. If moving anyway.If Even if the term term the if Even

ds, ds, a CEU eTD Collection 172 admit more can one do? flowers represents attend contemplativelywhich painting is a detached all. oneto thing at appropriate It public art’s by political accommodated be might contemplation” a “active isreflective, My that contention art. political st a . angles” init different at looking from anddistance, to it seeing asculpture, move around to needs One imply not passivity… does stillness and that necessary r not does contemplation that is arguable “It passive: is which contemplation to according granted for taken assumption happens does one is something contemplation fact that the accept can we construction, an oxymoronic first sight, be, at the to seems contemplation” “active function’ and ‘no interest and‘no function’ allowed’) art cannotby be apolitical accommodated purpose or as ulterior (understood ‘no disinterestedness aesthetic of the concept that make is artexamples wh of have not ich a does aplace decorate function to with art the economical injustices. injustices. economical social or about aware make public isto the not art apolitical of function the because o is apprehension art is, to any response Oxford and Cambridge, 1992, p. 132.

DianeCollinson, ‘Aesthetic Experience’, in pposed to pecuniary pposed to selfish ethically other or or questionable arting point in trying to figure out how an “active contemplation” works in attending attending in works contemplation” “active an how out figure to trying in point arting that some artmight bejust functionless

to one. Diane Collinson calls our attention suggesting that we should question the the question should we that suggesting attention our calls Collinson Diane one. to . Yet, apolitical art does not necessarily require adisinterested require necessarily not does apolitical art Yet, .

and is about ‘flowers’ about is and ) in the same de same the in ) War of Disasters (from The series the

as Gadamer puts it, amode it, of ‘self puts as Gadamer

equire stillness, that movement is sometimes essential to it, it, to essential sometimes is movement that stillness, equire Oswald Hanfling (ed.) Philosophical critical func – , and it is quite another to experience Goya’s experience Goya’s to another quite is it and , but an attitude of contemplative detachment is detachment of contemplative attitude anbut or to function as a commodity. are these, All 120 art

(or, at least, art without a direct function) adirect without art least, at (or, tion (apolitical art). 172

I will take Collinson’s suggestion as as suggestion Collinson’s take will I rather than something which simply simply which something than rather - understanding”

interests

Aesthetics The point The point intendI to

and not a detached adetached not and

apprehension that that apprehension (as critical art is) critical art (as tached manner. tached , Blackwell,

either

because because What What

not not

or or

CEU eTD Collection bring some to financialwith (either recognition). object some or personal usingus profit that do to which have in object interests the leaves those it aside in that sense the disinterested process. and active contem if understand we engagement and contemplation disinterested between conflict no is There idiosyncrasies). and associations personal understanding, (imagination, capacities our of use active an involves it contrary, the On background. political soci cognitive, from our adisengagement not is contemplation Then, disinterested state. a reflective more is it but mind emptied an of stance passive and a still not is Contemplation be. can torture horrific how and inhuman how awful, how know to will the by motivated – poses something to in of adesire sense one the aprivate nor obligation, imposed anneither is interest This world. this understand to have“interest” I an out there. whichisnot infamous torture, the world of into “transported” am contemplation I is reflective Through perceived. what a dialogue with it maintains insense that the is active, My contemplation either. suspended are one) cognitive the (especially interests all that say cannot I passive. and still is my contemplation that say cannot I art of pieces these When attend I extreme. so is in paintings these represented intimidateviolence The prisoners. to are used are which paintings representing dogs scream bleeding, vomiting, are prison. The prisoners in that there”, happened really But what makesvibrant. manner visualizedis thisin powerful series which the “what Botero and guardians Abu Theinguards at paintings Iraq. are madein cartoonish Ghraib, style: prisoners Botero’s series 80ravishing prisoners’and of drawingsbyAmerican paintingsabuse over depict These them? of front in adopt to have I attitude is appropriate what the Botero, Fernando artist , painted by the Columbian by Columbian painted Ghraib the , Abu called pieces art of series say, the attend, I If The question will be in this case: why is this contemplation disinterested? It is is It disinterested? contemplation this is why case: this in be will question The are pneumatic oversized figures and the colours the and figures oversized pneumatic are

only in Botero’s paintings, but also in the world in the world also but Botero’s inonly paintings, 121

used to depict them are really really are them depict to used plation as a as plation but it is an interest interest is an it but ing. There reflective reflective al or or al CEU eTD Collection Environmental in Values, Aesthetics”, 173 attempt contemporary is another There it disinterestedly. experience to advisable and possible penetratio the various possible combinations black and of whitemalefema and and which on floor, the on positioned blankets arranged geometrically with ten collection mirrored bya down struck II Paul John naked, chained,and barking; a satirical Maurizio depicting Cattelan produces sculpture pope artist (the Kulik Oleg surgery; (a impossible theorists some for seems appreciation adisinterested and offensive and transgressive from political disinterestedness . 3.5 (includinghistorical, cultural, political background). and social is dis contemplation disinterested our that a justify could which way immoral an in artwork use the to or desires your satisfy to yourself, for profit some achieve mean to as a self being not means disinterestedness is that point The caring). being just of value (like the art contemplate we when value intrinsic an pursue to want tow directed want we only what but are) we who aside setting require from not be self (does detached need not contemplation disinterested that claims Emily Brady

Form more on disinterestedness see Emily Brady, “Don’t Eat the Daisies: Disinterestedness and Situated

tedness Suitable for Disinteres Political any Is there In contemporary art theory and philosophy of art, the tendency is to is tendency the art, of philosophy and theory art contemporary In n.

Yet, in spite of these disturbing challenges posed by critical art, I argue that it is is it argue that I art, by critical posed challenges disturbing these of inspite Yet, we it can case but that the be symbolic profit) or (financial attaining aprofit ard Orlan bu ndfor inappropriate): others, Orlan

- -

meteorite; Santiago Sierra’s film “Los Penetrados” features a a features Penetrados” film “Los Sierra’s Santiago meteorite; dog) lives for two weeks like a dog in livesdog) forlike twoweeksgallery, a an dog art being No. 7, 1998, pp. 97 -114. critical art’s appreciation. Political appreciation. art’s critical

morally questionable 122 - engaged engaged

tchers herself with the help of plastic help of the plastic with herself tchers . from our experientialbackground from our 173 - Critical Art’s Spectator?

Yet, what we want is not always isnot want we what Yet, behaviour -

interested (to interested - critical art is many times times many is art critical ). This does not mean mean not does This ). le, engage in anal anal in engage le,

use the art piece piece use art the

reject aesthetic aesthetic reject

or or CEU eTD Collection 175 174 theory teresting in an proposes She why). apprehending ispolitical art “not onlyalso but possible advisable” she (but not does tell us in stance adisinterested that argues Brand background, this theoretical against Yet, grounds that thisrequires r art engagement the on disinterestedness aesthetic of requirements the with in accordance apprehended wi incompatib is mine while theorist’s, attitude with identical) even not (if compatible 18 (the disinterestedness of theories aesthetic traditionalist both with incompatible is position r He disinterestedness. as counts of what enough adescription is as not attitude aesthetic follows, in what argue will as I and, and do reasons motivations haswith to me whilefor disinterestedness attitude, For disinterestedness. waythe understand we in rests Brand’s and case art’s political in disinterestedness on my account between difference The adopt. has to viewer a attitude disinterested aesthetic the but art political of appreciation disinterested tic aesthe the defend not does she because precisely convincing, not is argument her hand, on other the Yet, ofis rejection. atmosphere theoretical general the since worthy disint ithowever offending grotesque, may and repugnant appear prima facie one. is annot appropriate this attempt follows, what (Brand’s) disinterestedly can be appreciated politicalart show that to meticulously describes how exactly this switch is possible. The core of Brand’s argument, of argument, Brand’s The core possible. is switch exactly this how describes meticulously She art. political experience we when mode of attention and a disinterested interested

th aesthetic attitude theories. attitude aesthetic th Drawing on Wittgenstein’s aspect seeing: namely, drawing. using the duck-rabbit Paradoxa in Art”, Political and “Disinterestedness Brand, Zeglin Peggy erested contemplation. erested Generally, contemporary art theorists hold that political hold that theorists art contemporary Generally, art, from impulse political artistic the holds transgressive that Brand Peggy Zeglin th

century) and with the feminist critics of aesthetic tradition but is is but tradition aesthetic of critics feminist the with and century) 174

Brand’s contemporary contemporary Brand’s 175

ather than passive, “disinterested” contemplation. contemplation. “disinterested” thanather passive, according to which we should switch between an which switch should we to according 123

Brand it is a matter of attention and aesthetic aesthetic and of attention matter isit a Brand

defence

, No. 8, November, 1998. November, 8, No. , of aesthetic disinterestedness is is disinterestedness aesthetic of - critical art should not be be not should art critical

but, as I will show in in show will I as but, , can be tamed for for be can tamed ,

le only only le CEU eTD Collection He Hilde in Aesthetics’, from Lessons Theory. Feminist ‘Refining Hein, (Hilde point” in case a is disinterestedness of doctrine The women. of repressive and dysfunctional is that theory gender of a system with implicated deeply irr or passé just not are we reject concepts “the posits: Hein Hilde example, For Unlike Brand, some other feminist aestheticians question the ideal of disinterested appreciation of art and nature. 176 in face her rearranging is surgically in artist the which art critical of piece disturbing seeing the rabbit l (exactly one a disinterested and duck the at look we in way the exactly at looked be can art of piece Orlan’s that assumes Brand by Orlan. pieces. political art to attend we when versa vice and attention disinterested to interested from switch can we way an analogous drawing a duck as and Wittgenstein’s from illusion duck the exampleof the disinterested attentionbut not wi with or attention interested with piece art political the experiences either one words, In other once. at of attention both types “see” with cannot one that she states a conclusion, As not. or deliberate her, be, according to might modes of attention two between the “switch” mode of att interested from an attention the if switch we disinterestedly bothand interestedly political art can we her, For attend art. political attending colleagues attention and disinterested interested both recommends attentions” “switch of the e calls sh what namely

in and Karolyn Korsmeyer (eds.), “Aesthetics in Feminist Perspective”, Hypatia Inc., 1993, 10). p. 1993, Inc., Hypatia Perspective”, Feminist in “Aesthetics (eds.), Korsmeyer Karolyn and in ject disinterestedness from aesthetic appreciation of art. of art. appreciation aesthetic from disinterestedness ject re not does who aesthetician feminist a is Brand Her case study (her “duck (her case study Her

She does not say, like her feminist aestheticians feminist say,aestheticians like She her not does art. political experiencing in , - 176 rabbit drawing: backswitching forth and between seeing it in an interested mode

dness in disintereste aesthetic obsolete the replace should “interestedness” that from duck the after few seconds only, we can see it as a rabbit. Brand suggests that in in that suggests Brand arabbit. it as seecan we few only, seconds after - rabbit to supportherrabbit argument to (the well

Philosophical - th both “modes” of attention at the same time. Brand uses uses Brand time. same the at of attention “modes” both th ike we switch back and forth between seeing the duck and forth betweenbackike the duck andseeing switch and we rabbit”) is the political political the is rabbit”) - Orlan’s “Omnipresence” is a highly highly a is “Omnipresence” Orlan’s rabbit drawing).

124

Investigations art piece “Omnipresence” performed performed piece“Omnipresence” art ention to a disinterested one. adisinterested ention to ). ). Sometimes we can see the the see can we Sometimes elevant to feminism but are - known duck known - rabbit optical optical rabbit

This This CEU eTD Collection B.I. Tauris & Co. Ltd., 2009, p. 10). such situation” (Kie experience to ought of we how prescription the to practice art contemporary in situation of a adescription from 178 critical 177 and apolitical of art (disinterested) appreciation an aesthetic both have can we us that shows versa) vice and interested to disinterested (from attentions” “switch of The time. same mo or politically and aesthetically both be appreciated cannot piece art political attitude theorists, strict formalists and autonomists. In other words, this argument says that a particular women to is oppressive evil and model beauty of hegemonic that the th with accordance happening, etc.), and the critique of the male gaze. There is no single criticism. is single no There gaze. ofmale the critique the and etc.), happening, cannon o beauty, the critique of medium specificity and purity (Orlan is combining video art with performance, Actually, this is not the only critical point this piece intends to make. Unlike political Kieran Cashell makes a similar observation: “there is a subtle but not an imperceptible shift in her analysis - political art is politically polyvale Brand Brand ) 178

and this obligation reminds us theaesthetic purist required demands by the recommends how we should we how recommends http://oldsite.english.ucsb.edu/faculty/ecook/courses/eng114em/surgeries. ran Cashell, Cashell, ran e cann ons of classical beauty. beauty. classical of ons Aftershock: The Ethics of Contemporary Transgressive Art Transgressive Theof Contemporary Ethics Aftershock: Figure

: Orlan’s Omnipresence Orlan’s 4: nt. The critical points can be considered to be the refusal of hegemonic of hegemonic refusal be the to be considered can points critical The nt.

appreciate political art in general (and Orlan’s in in in Orlan’s (and general art political appreciate 125 One of the critical points this piece makes is is makes piece this points critical the One of , 1993,, source:

. 177

-propaganda art, , London ,

rally at the the at rally New York: -New York:

CEU eTD Collection 179 rabbit”nor o “neither duck as such situations ambiguous in case of only the attention complexi the The duck realistic. not is case art’s in political attentions’ of ‘switch the of attention, matter a as disinterestedness aesthetic idea of the if even credit we However, and disinterested. interested modes: two several grounds. o interests other all that aesthetic of the a isrequirement is it not I insist What that sorts. from other separable never are considerations or experiences aesthetic claim not that do I standpoint. another “we don’ wouldsay, Eaton As Marcia moral). political, (aesthetic, packages in separate come typically don’t included) in (art live we world the of appreciations and make, we decisions the experiences, our that out point I details, don’tI find this onmany solution particularly convincing b grounds disinterestedness. her viewaesthetic to on objections strongest the consider I what formulate piec be to features art her, feminist the to this is is, why she doing artist de who (like of art piece the of proprieties extrinsic the to pay we mode, attention ininterested while the colours shapes, to attention pay we case an’s Orl (in work the of properties intrinsic the only to pay we mode) attention “disinterested” she calls exactly, more what mode (or, In disinterested the interested). and (disinterested modes of attention two between separation what isfact, In simultaneously. Brand for not arguing is but appreciation a (interested)

Marcia Muelder Eaton, Merit, Aestheticand Ethical e and so on). so and e Firstly, l Firstly, Now that I have presented and explained PeggyZeglin Brand’s position, I will (if there exist such things as interested and disinterested attention) would be attention) disinterested interested would possible and suchexist things as (if there The like an The artwork of Orlan’s. ty et’s suppose for the sake of the argument that attention can be switched into into switched be can attention that argument the of sake the for suppose et’s out“ off or blocked concerns are r

- rabbit drawing (or any drawingrabbit (or similar other equalize ambiguous drawing) not does

126 , New, York:Oxford University Press, 2001, p. 62. t look to the world first from one and then from from then and one from first world the to look t switch between interest between switch . 179

Brand’s account can b can account Brand’s ut, before going into into going before ut, ed and disinterested anded disinterested r “neither x nor z” z” nor x “neither r e questioned on e questioned on foundin the , texture), texture), ,

CEU eTD Collection 551. p. 180 (if ephemeral is which in of art case work the not case does art’s in political disinterestedness Brand’s something. that way perceive we “switch of attentions”model of explaining art. b disinterested or interested be can in way acertain art perceiving for Motivationsforbetween perceiving distinguishmotivations the perceiving. with way of her and attentio not disinterested or interested be can viewer of the factors motivational and the The purposes disinterested. qua attention of talk to sense make not does It disinterested. and (voluntary attention just is Orlan’s piece to paid attention is note that fails to Brand What theorists. attitude aesthetic the and with Stolnitz Jerome boat kinds” di into up split be to not and terms, other of means by defined be to not primitive, a be to taken usually is “attention mind, of philosophy of language the in out, points Gregor a interested involuntarily. looking of way the changes who being non a or aschizophrenic not is spectator The disturbed. or shocked mesmerized, in wh experiences very powerful us offer artworks political because is so easily about not possible is Brand talking “switch” case the art’s political In one. “involuntary” being an fromfar is “switch” the in performance) Orlan’s case (even in po that observe can we on, further disinterestedness and interestedness between switch pushanalogy the with if the we are to theBut rabbit exclusively. or focus onthe duck situations.

Robert McGregor, “Art “Art and McGregor, Robert

. 180 time, the motivation for perceiving something will always influence formotivation perceivingsomething the always will the time, same the At Secondly

By reducing disinterestedness to attention, Brand remains in the same theoretical theoretical same in the Brand remains attention, to disinterestedness reducing By Brand nd disinterested (let aside whether you can switch them or not) or them switch can you whether aside (let disinterested nd

claims that sometimes theswitch is involuntarily, in spite of the attempt to – and

more importantly importantly more the Aesthetic”, The Journal of Aesthetics Aesthetic”, and the Art Criticism

n. Brand is still stuck in a paradigm which does not not does in which isstuck aparadigm n. Brand still 127 – it makes no sense to divide attention into divideinto makesit nosense attention to

or involuntary) but not interested interested not but involuntary) or ut not the way we perceive perceive we way the not ut ich the viewer is really really is viewer the ich attention as interested or or interested as attention , Vol. 32, No. 4, 1974, .

As Robert Mc Mc Robert As - art’s litical emotional emotional fferent fferent CEU eTD Collection Studies 181 as disinterested. count evilsall to the same” the remains individuality interested transcendence beauty involves of idea experience the but the that change, sometimes rms “the be te valued: to disinterestedness and require beautiful the good the both posits, AsBernstain “beauties”). superficial other and prettiness loveliness, for struggle perfor feminist thepublic, kind (hegemonic politics).wrong engagement Orlan’s For of political wouldfeminist art be byhis prompted andmotivations evilinterests which will the ensure discriminatio hatred, apprehendmotivated to for gainingpersonal piece Orlan’s manifests Misogyny profit. as not is he when even one disinterested a as count cannot apprehension his attending be might he if but even that concede we art, feminist attend to to willing be will a misogynist that think don’t I engagement. political of kind right the ensures it typically and political certainly is piece Orlan’s is apprehended. art political when ones aesthetic from the separated not be will queries these to The answers work. Orlan’s appreciating from benefit is as ifit not apersonal is he because gaining be accepted should also viewpoint misogynist’s then the as disinterested accepted are motivations and viewpoint feminist looks at Orlan’s who fromher work feminist of point view? a from differ it does how if so, And, motivation. bad selfish, immoral, an as counts viewpoint, disinterest a as count cannot alone attention then even but painting) interestedly) then art

John Andrew Bernstain, “Shaftesbury’s Identification of the Good with the Beautiful”,

restedly and and it isrestedly is back forth between disinte and seeing no there switching ephemeral , Vol. 10, No. 3, 1977, p. 309. mance is both “good” and “truly beautiful” (because it tells the truth about women’s women’s about truth the it tells (because andbeautiful” “truly “good” both ismance Someone could askif amisogynist’s apprehension, who views Orlan’s work fromhis . In the best case, it could work for static for political it could case, work best In the . n or violence against women. Therefore, a misogynist apprehending of of apprehending amisogynist Therefore, women. violence against n or

. 181 128

A misogynist’s apprehension does not transcend transcend not does apprehension misogynist’s A that ethical motivations are are motivations ethical that ed stance. ed - critical art (sculpture, (sculpture, art critical

Eighteen Century If the feminist’s feminist’s the If

the evils of self of evils the - CEU eTD Collection in details willI that for reasons discuss the disinterestedness interest are art of apprehending our guiding motivations and reasons the which in ways various the discern to willbe step necessary Another perception. attention or our and not interested or disinterested graspingunderlying are disinte our reasons in the rests whether matter crux the of but the it, behind motivations and reasons some has attendance our is that doubt no There is disinterested. appreciation mean not our that does so these to only attention pay we If reconstruction). face surgical of her under rearrangements and blood symmetrical red vibrant the at gaze We art. cannot political of appreciation look at Orlan’s artwork “for no reason” (or just to performance. of point this the totally overlook be achievemeaninterdictions). to Strugglingattitude(if to possible achieved) would this to independence of moral judgment and idiosyncratic means which attitude aesthetic the sustain to means attention disinterested a of centrality maintain To the assessments. may ethical include them to response aesthetic appropriate the pieces art political many fortunately, But, it aesthetically. appreciate if of to view are we political point from or an be ethical approached shouldnot artwork an in that claiming would persist attitude of aesthetic adefender Perhaps, on contrary. the but theory Brand’s by envisaged stance disinterested in the inhabit not does her art to reaction ethical this But beauty!” formal universal perfect, no is there wrong, is “this say attendant politi Orlan’s sthetic aesthetic adisinterested for account to if want we follow, to path another is There ed or disinterested. I claim that this is the appropriate understanding of of understanding is appropriate the this claim I that disinterested. ed or cal objective (among others) is meant to distress and to make the make the to and distress to meant is others) (among objective cal rested or not. Our reasons and motivations can be not. reasonsmotivations Our and or can rested 129

- personal emotions (among many other other many (among emotions personal called “inter in what follows. what in nal properties” of the work nal work properties” of the have ethicalvalue and

CEU eTD Collection types of motivations: social, cognitive, emotional, and psychological but I will not go into that here. 182 all the eliminate voluntarily we it mean that Does claims? as Kant object the of existence political ending appreh when with perception or apprehending no is there that agree would Shaftesbury and Leibniz Both allowed”. interest disinterestedn from interest of separation than aradical interest from of kinds some inseparable evaluation. moral and critical to opposed not is it therefore and, attitude aesthetic detached purist, a with do to nothing has disinterestedness Shaftesbury’s “good”. and “truth” is towards directed one morally and which condemnable is one which by upon reflecting m not does disinterestedness that agree would Shaftesbury ways. certain in think and apprehend act, to reasons disinterested 20 the than it of understanding 18 the to closer someis extent to apprehension . 3.6 motivations. In other words, there are individual motivations individual are there words, other In motivations. with do to nothing has Disinterestedness mistaken. and misleading is does) modernity of tradition aesthetic the (as “disinterested” interest so The one. e interests all of absence as the concept aprivative not and appreciation art toward attitude ethical an denoting “noble”is word a Disinterestedness interests. pecuniaryisit selfish absence to but isallinterests thenot suppression of or or opposed

Motivation is understood as that mental process which sustains goal directed behaviours. There are many many are There behaviours. directed goal sustains which process mental that as understood is Motivation

Rethinking Disinterestedness Political in The idea of disinterestedness I defend is rather that in which disinterestedness is is in disinterestedness which that is rather defend I disinterestedness idea of The political for suitable seems which appreciation The disinterested of kind - called “aesthetic interest” is just an interest among others. To call only this call this To only among others. interest is an just interest” “aesthetic called ess. There is no such a thing as “complete disinterestedness”, in the sense of “no “no in of sense the disinterestedness”, “complete as suchno is athing There ess. out somethingmotivatingout them. - Does it mean that we are not interested in the real in real the interested not are we it mean that Does art? critical

ean to rule out interests but to guide and correct our interests interests our guide correct and but to interests rule out to ean century and contemporary interpretations. Disinterestednes interpretations. contemporary and century 130 - Critical Art’s Appreciation What does it mean then, to be disi be to then, mean it does What th

attention or perception but with peculiar with peculiar but perception or attention century (more precisely Shaftesbury’s) Shaftesbury’s) precisely (more century 182

for disinterested acts and acts disinterested for xcepting the aesthetic aesthetic the xcepting

critical art art critical nterested nterested s CEU eTD Collection the is what this interest philosopher, French the For Badiou. Alain to more much owes but observer) the on confers it that benefits for not and sake its own for something of enjoyment the regarding aesthetics Kant’s from reverberations o Kantian a necessarily not is term this understand I which in sense The disinterestedness. of apeculiar type to gives rise “good” this ethical to commitment The another of egalitarianism). formone or or for welfare others’ consideration disinterested excluded, marginal or oppressed, those for justice of doing terms sense (in ethical in “good” of asort appreciating to is committed public art’s In general, political art. critical ob is again piece critical transform would piece. art of the features compositional focusing something disinterestedness than denotes else exclusivel Nevertheless, gesture. artistic this through it exhibits politics the for and practice art the in involved body real the any regarding worries without transformed surgical is face human her real while performance of Orlan’s composition chromatic the at gaze simply cannot is un an “disinterestedness” required this because precisely object artistic the concentr cannot We place. took actually it andnever invented pieceisin totally art the depicted situation the that if know we be different would appreciation the Moreover, they perform. task painful life were they if “Omnipresence” Orlan’s Me” or Bites America and America “I Bite Kulik’s like Oleg piece, object artistic the of real existence the be d cannot we Obviously, aesthetic one? the except interests First of all, disinterestedness is independent of anything of economic value which valueindependentanything ofwhich ofis economic First of all, disinterestedness ate on the formal aspects of a piece while disregarding the real existence of of existence real the disregarding while apiece of aspects formal the on ate - size holograms or ma or holograms size human specie jectionable and it has no place in the state it jectionable and has no inplace ofpolitical mind state the appreciating - political art into a commodity. The desire for possession of the art art the of possession for desire acommodity. The into art political s

has in common with all living creatures). It is exactly that It that is exactly creatures). living with all in has common is is quintessentially animalistic animalistic quintessentially

nnequins and not the not artistsnnequins themselves the performing and .

We would not appreciate the relevance of a political of apolitical relevance the appreciate We not would 131 isinterested in Kantian sense in in sense Kantian in isinterested ne (even if, it could have some some have could it if, (even ne – a struggle for survival (and for survival (and a struggle y on the internal or or internal the y on - ethical one. We We one. ethical - CEU eTD Collection 185 17, 1931, p. 462. 184 183 in political disinterestedness of understanding cornerston the view, my in is, values intrinsic these in pursuing interest self with one’s conflicts “good” of conception by one’s required circum extreme In certain “true”. or “just” “good”, of conception some from derive that – interests our Usually, we will guid self or advantage to personal the the trulyph achieved have to said be may we that then only is it ours, be to destined not were who friends those right, natural no had which we to homes those loss of the appreciation unregretful clut to attempt futile undignified a in hands those closing without hands open our into puts life gifts the upon love with look to how learned have we iswhen “it only claims: as Rubinstein but, interests lack a of upon based disinterestedinterests: interests different and pursues creatures) truth” of “event preserve transcend. struggles subject to ethical the which Hallward, London: Verso, 2001, pp. 46 pp. 2001, Verso, London: Hallward, Disinterested interests exist” (Alain Badiou, Ethics: An Essay on the UnderstandingEvil of shows that self preservation and its interests cannot be the whole story about human beings, and that Evil compels us to decide to adopt a new wayof being” (Alain Badiou, Understanding of Evil ctive subje a (Alain epiphany Badiou,like more it is Ethics: theof Essay and An event by an sparked as fidelity life exemplary the to but an mat”) event the on is which makes us new, better beings. A truth is th proposition a of property some designate not does “Truth” music). in Schonberg and physics in of Galileo work the wayof being: political, scientific and artistic revolutions, religious transformations, etc. (the French Revolution,

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The interests in serving God can be very different: a good place in the afterlife, achieving a saint’s aura aura asaint’s achieving afterlife, the in place a good different: be very can God serving in interests The Contemporary in Aesthetics Disinterestedness”, on “An Exchange Hepburn, Ronald and Berleant Arnold See valuer. by a object to an awarded being upon contingent is value theorists, ethical some For also something opposed to utility in general. Although I agree with him that him utilityAlthoughin that agree with I somethingto general. also opposed 186

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depends solely on solely depends http://www.contempaesthetics.org/newvolu 187

while “serving for interestsGod merely” for interest merely”. The disinterested love of God has then value that value that love has then of God The merely”. disinterested interest for

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Same with critical art: some art pieces seem to be be to pieces seem some art art: with critical Same 135 We can We can value. intrinsic its for thing , Vol. 2, No. 4, 1998, p. 277. . 189

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r what the the what r mentally mentally CEU eTD Collection view, disinterestedness looks irrational looks view, disinterestedness of point rational economic utilitarian strictly a from though, Even utility. of maximization disin in truly a act to beings human for possible elitist reputation, belonging, awareness benefits of of self the a good in only also publicrecognition, but prestige, termsof of economicin terms any (not kind nothin has thisbut agenda involves agenda an utilitarian art concerned of politically apprehending the suits which stance The disinterested terms. ap aesthetic disinterested in unavoidable still is usefulness Thus values. intrinsic and instrumental compassi justice, social like values maximize profit. In this view, every action we take or we don’t take is motivated by maximization of utility. 192 desires. immoral by motivated is morally selfishbad, or not purposes) (or purpose if that appreciation isa disinterested still non (disinterested, its o “for appreciation with instrumental) (interested, “means” as art of appreciation contrast have We to don’t disinterested. longer no are appreciation our and apprehending notour mean it that does purpose achieveit and use we that to purpose ulterior an has art If of apiece either. satisfactory not iscompletely thisit understanding but of interpretations - critical disinterested. is not value) (instrumental purpose or use with do to has which Everything disinterested. is evaluation intrinsic the only because apprehension/evaluation disinterested be a not would terms this

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CEU eTD Collection désintéressement. Traité critique de l’homme économique 193 I Yet, want. we what but are we what bracket mean to not does disinterestedly art appreciate To interests. all of absence as the concept aprivative not and profit) or advantage in taking questionable) ethically selfish pecuniary or to itopposed is but purpose” anyfor ulterior concern “no or interests of absence all lack the or not is Disinterestedness pronouncements. contemporary employing in us help may concept the of analysis A rigorous of disinteres kind understanding of of question what disregard the cannot we words, other In “disinterestedness”. understand we in which sense the of importance mi political for is appropriate in that a way of disinterestedness revision apossible proposes This chapter 3.7. of others. and welfare the amatter of but self ismotivation annot egoistic of others being well the pursuing for motivated disinterestedly as others of eyes the in not and eyes own talk a disin about can we recognition of social bymechanisms motivated is the not condition other’s for concern When this condition). other’s for care (like values intrinsic some towards directed concerns rational” closer to the 18th century (Shaftesbury’s) understandi (Shaftesbury’s) century 18th the to closer - political for suitable seems which disinterestedness

staken but influential interpretations of it. For a convincing argument regarding the rationality of the disinterested motivations, see Jon see Elster, motivations, disinterested the of rationality the regarding argument convincing a For Conclusion “Disinterestedness” is a dignifying term, denoting an ethical attitude ( attitude an ethical denoting term, is adignifying “Disinterestedness” - . I have defended disinterestedness against several several against have disinterestedness I defended appreciation. aesthetic art’s critical 193

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th Ruth Lorand, “In Defence of Beauty”, Aesthetics Online, source: source: Online, Aesthetics Beauty”, of Defence “In Lorand, Ruth Ibidem Norbert Reber, Rolf Other beauty

century that artistscentury patternintroduced that books, offering pictorial elem asoning owes much Thomas(“ Aquinas owes asoning to of . (2 . Ruth Lorand was right to repeatedly claim that “beauty is not always nice and always and nice not is “beauty that claim repeatedly to was right Lorand Ruth

) The subjectivist view of beauty (“ beauty view of The subjectivist ) making properties are: contrast, clarity, complexity and so on. and complexity clarity, contrast, are: properties -making the the

Schwarz and Piotr Winkelman, “Processing Fluency and Aesthetic Pleasure: Is Beauty in in Is Beauty Pleasure: Aesthetic and Fluency “Processing Winkelman, Piotr and Schwarz Red Cross. It is an immediate is an It Cross. Red 201 . Now the question is: What kind What is: question the Now .

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oks to senses;our to feelwe don’t oks in apprehending what pleasure

(last accessed2013).6 August 145 de gustibus non est gustibus disputandum de can be beautiful if it pleases the senses.

202 pleasure quod visum placet

http://www.aesthetics

of pleasure? The kind of pleasure pleasure of kind The pleasure? of

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aims that there are two important ways to understand the word “beauty”: (a) beauty asan , Indianapolis, 1976). In Defence of Beauty”, Aesthetics Online, source: source: Online, Aesthetics Beauty”, of Defence In - making quality. The appreciation that X is beautiful means that X X that means beautiful is X that appreciation The making quality.

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operties are sensed properties. are operties by contemporary aestheticians (. aestheticians by contemporary 146 l and so on). Appreciating beautiful on). lso aas and thing ts. As Lorand suggests, “the beauty of the the of beauty “the suggests, As Lorand ts. ugly” images ugly” http://www.aesthetics

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the concept of “beauty” is ambiguously or incorrectly used on ot on used incorrectly or ambiguously is “beauty” of concept the In traditional aesthetic terms, beauty is taken to be adi to taken is beauty terms, aesthetic In traditional pleasure. immediate feeling and an of an object asurface perceiving immediately do only with has to beauty because sense, aesthetic demonstration mathematics in ( occasions This requirement of complete disinterestedness raises the demand of universality for for of universality demand the raises disinterestedness of complete This requirement as the is represented from concepts, apart which, is that beautiful “The says that Kant while ade sense, in aesthetic is beautiful a painting) let’s (in say forest a design of the words, other , , trans. Werner S. Pluhar, Indianapolis: Hackett, 1987). 208

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th For example, David Hume advocates an early art for art’s sake position by position stressing sake for art’s art early an that advocates Hume David the example, For only function of beauty has nofunction (apart

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the purist aesthetic imperatives, is to some extent a sort of interest, namely “the namely“the interest, of asort someis extent to imperatives, aesthetic purist the as no as use function.or Augustine’sIn view the male nipple has beauty pure

Beauty and function are seen as mutually exclusive. A beautiful object is that object beautiful A exclusive. mutually seen as function are and Beauty or its own sake only. Theophile Gautier (the first theorist of art for for of art theorist first (the Gautier Theophile its sake only. own or

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CEU eTD Collection accessed on 6 August 2013). attention has been given to listenin to given been has attention little occasions, these Outside functions. perform certain to festivities) or rituals public Human Experience’, source: 212 Press, Oxford, 2008, p.23). good it, in and so on(for a detailed argument, see Allan Carlson and Glen Parsons, Functional Beauty is beautiful if it k A house purpose. for fitness the is beautiful something makes What purpose. another to reference with beautiful 211 210 (narrow) in purist this regarded are etc) crafts architecture, political art, art, (religious arts regard without what kindof it (purpose to is what does it function). thing or of Functional or virtuein to merelyhow this appears ofthing a beauty thing ofwhichis the and beauty. art function. extrinsic art a practical, serve they because precisely aesthetic properly as aesthetics traditional in regarded not are arts Functional on). so and objects decorative and practical construct political shelter; offering of function primary the serves architecture God; glorifying of function serves the art (religious are arts functional as functions, extrinsic serve art made to not are These arts pleasure). aesthetic occasion - non those only art qualifies asfine aesthetic Culture: artsWestern (have value) aesthetic world.” ancient the in concept era. in - beauty hadthe function and unconceivable pre been between almost connection disgu need and the need, a it expresses for ugly, is useful everything

Jonathan Friedman, ‘Beauty and Function’, online article on ‘Thinking on Music – Music on ‘Thinking on article online Function’, and ‘Beauty Friedman, Jonathan ( beautiful be called might object an thought Greek classical In M de “Mademoissele Gautier, Theophile 211 sting

Jonathan L. Friedman posits that “listening to music for pleasure was an unk was an music pleasure for to “listening that posits Friedman L. Jonathan S So, beauty in aesthetic era is paradigmatically understood as formal beauty of an item, item, as formalbeauty of an understood is paradigmatically era beautyin So, aesthetic tarting with the aesthetic era, a powerful view developed in post in developed view apowerful era, aesthetic the with tarting

functional arts appreciated for their own sake (arts meant just to be just to meant sake (arts own their for appreciated arts functional ( …) T eeps warm during the winter coldand during the summer; shoea isbeautiful if the foot feels

he most useful place in a house is house in the a usefulplace most he

In short, “uselessness” started to become central to the modern concept of of modern concept the to become central to started “uselessness” short, In

http://thinkingonmusic.wordpress.com/2012/11/12/beauty

212

g to music merely pleasure. musicfor to g Music has been used in certain contexts (e.g. religious, religious, (e.g. contexts in certain used been has Music aupin”, 1981 150 art serves a critical function; textile arts serve to serve to arts textile function; serves acritical art .

kalos lavatory ) with reference to a purpose, and non and a purpose, to reference ) with

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210 of man are ignoble and and ignoble are man of

Exploring Music in the This dismissal of the the of dismissal This -and

our senses directly senses directly our -function/ beautiful and to to and beautiful - Enlightenment Enlightenment . Fine arts are are Fine. arts

, Claredon Claredon , (last (last aesthetic aesthetic nown nown - - CEU eTD Collection unction which has been under attack in aesthetic theories of art. of art. theories aesthetic in attack under been has which function and beauty between function. and beauty between juxtaposition is no there aestheticians contemporary to these pp. 224-241.According “Aesthetic Judgments, Artworks, and Functional Beauty”, The Philosophical Quarterly, V 213 ignore cases the to reasons no have is)majority we the in case, art’s (although, utility or function of terms in solely explained be to beautiful that strength). and simplicity (with way that in function fulfils it which in manner the through make not does itif beautifulis it (even reallyis the but discourse convincing) this alone but convinceis to a discourse function of the token, Byit. same the like and we empowering. B makequalities itsimplicity, which say strength) (let’s approachable, convincing and aesthetic may some have It beautiful. functionally be can adiscourse discourse: a beautiful in case of the Like beautiful. something inconsidering utility and simplicity/elegance between is aconjunction there ininstances some maybeit case Actually that the requires). aesthetic from traditional/modernist utility (as apart is apprehended beauty always their mean that th and simplicity) elegance, (like perceivable directly are fulfil to appear properties aesthetic its if way functional a in beautiful is tragedy example, a For object). that of function of the fulfilment the to contribute properties its aesthetic as when beautiful object functional judge a value (positi real”. “not is function and beauty between tension this that arguing non narrow, this reject to right are aestheticians contemporary sec best ond at or impure arts as aesthetics

See Glen Parsons and Allan Carlson, Functional Beauty Carlson, Allan and Parsons Glen See : (a Still, conceding that beauty and function are not mutually exclusive does not mean mean not does mutually exclusive not are function beauty and that conceding Still, ) every object’s functional effectiveness has aesthetic value and is functionally functionally is value and has aesthetic effectiveness functional every) object’s Functional beauty Functional , (b ) there is just one kind of beauty (beauty in virtue of a function) of a virtue in beauty (beauty kind of one just is there ) ve aesthetic evaluation) which can be related to function (in the sense that we can can we that sense the function (in to related be can which evaluation) aesthetic ve ut we cannot appreciate that the discourse is beautiful just because it is simple simple isit because just isbeautiful discourse the that appreciate cannot we ut

is a new theory in contemporary aesthetics meant to rehabilitate the relationship

the function of a tragedy. Even if some aesthetic properties properties if Even aesthetic of some atragedy. function the

its function (to convince) and as a result of fulfilling its its fulfilling of aresult and as convince) (to function its - class arts, lacking aesthetic value. Then, several several Then, value. aesthetic lacking arts, class 151 , Oxford: Clarendon Press, 2008 and Stephen Davies,

. But, even if no if even But, . ey seem beautiful to us this does not not us this does beautifulseem to ey - functional theory ofbeauty by 213 t allt is beauty functional

Beauty is an aesthetic aesthetic an is Beauty ol. 56, No. 223, 2006, , or (c) or , beauty is

beautiful both both beautiful in which in which

CEU eTD Collection as and significance, impact piece’s art the somehow in damages is art) it present beauty (when (dist spectators to piece help art the not does beauty because art political in contemporary avoided deliberately be beauti need to not does art political hold that They category. aesthetic adiscredited artists contemporary (or purpose); art which typically d socia for concern the than dimension different beauty. a function beauty and between relationship the beautiful; considered not is have done) theorists contemporary several (as agenda the on back puttingbeauty that stress to want At I time, same the of art. theory aesthetic inmainstream the conceived has been beauty in consequence way which of the is adirect distrust Their justice. socialfor struggle those contemporary political artists’ and theorists’ claim that beautyis sts at odds that with beauty the theori is and not at artists political . 4.2 function or purpose. ob the only not relevant is it course), functional. is beauty fulfil

enough enough The Deliberate Avoidanceof Beautyin Contemporary Political Art

Yet, even if art is not and should not be necessarily beautiful, this does not mean that mean that not does this beautiful, be necessarily not and should not is evenif art Yet, in in atotally beauty art with concern the places which tendency is atheoretical There contemporary by held view common the against show, to attempt I section this In its critical point but, on the contrary, it may occasion the wrong kind of kind experience wrong in the occasion may it contrary, the on but, point critical its - re we unless rehabilitation, beauty’s for anced, disinterested, passive). disinterested, anced, ful to be good, relevant, effective and significant. Moreover, beauty has to be be beautyhas to Moreover, significant. and effective relevant, be good, to ful

In the aesthetic appreciation of beauty (a cognitively rich appreciation, of of appreciation, rich cognitively (a beauty of appreciation aesthetic the In oes not look pleasant at sight. ject’s form or shape but also considerations about its its about considerations also but shape or form ject’s

152 l justice. Political art is art with critical function function critical with art is art Political justice. l odds withodds respond to I critical engagement. appreciate the sig the appreciate

Beauty is then for many many for is then Beauty nd the understanding of of understanding the nd nificance of what is is what of nificance

CEU eTD Collection New York, 1982, p. 82. 214 Auschwitz. after poetry “lyric” of barbarism the declaimed famously Adorno moral sufferance. and pain, crimes frominjustice, attention our beautiful things distract on). so and isit righteous soul, the moves it is great, (which sublime righteo not is it matter, not it does purposes, art’s for political count to weak is too It functions. art’s political effectively helpfulfilling not does which beholders in pleasure of kind acertain occasions attitudes: theoretical maintwo conflicting of predominance the realized have I aesthetics philosophical for impact its and art political some thre and beauty in way which the art in contemporary of beauty inappropriateness the regarding his explained worries Danto socialit arrangements. from wrong distracting attention, art political be consequences remainfrom avoidedbeauty tendsnot considerations and to without did

Theodor Adorno, “Commitment”, Adorno, Theodor (b) (a) nce and other social diseases. andnce other suffera concealinjustice, to ats theo

useless (without purpose or function), powerless, just that function), purpose powerless, be or (without useless beauty to considers one the other treats beauty as quite the opposite (beauty is too powerful, a force which which powerful,force a is too (beauty opposite the beauty as quite treats other the In the second case (beauty is too powerful), beauty is totally rejected. Some hold that hold that Some rejected. totally is beauty powerful), too is (beauty case second In the sight”; at pleasant is “which mean “merely” beautiful. In other words, it words, other In beautiful. “merely” mean to comes beauty case, first In the in art. matters critical whyfor beauty justification a offer positions above of the none that it seems beauty,obvious to relation socialinjustices). Regarding at art’s look political long eyesit enoughfrom to our ke ta cannot we much that so attention our and at overwhelms looked object harms the rists are inclined suggest. rists are to . The argument runs like this: beauty is immoral because it preoccupies our it our preoccupies immoralisbecause beauty like runs. this: The argument us, and it is a demoted aesthetic notion which can be anytime replaced by by replaced anytime be which can notion aesthetic it andis us, ademoted

in Andrewin Frankfurt Arto(ed.), TheEssential

In trying to deal with the issue of beauty in critical in beauty issue of deal the with to In trying

153

School Reader School , Gebhardt, Gebhardt, , 214

These - CEU eTD Collection http://www.philosophynow.org/issue44/On_Beauty_and_Being_Just_by_Elaine_Scarry 216 215 be right to do so). will (and they artists political by rejected and avoided deliberately be it will moreover, and art will beauty that course of then this paradigm accept If we on. so and moral judgments values,frombeauty) (“pure” attitudes, independent pleasure, totally other disinterested and perception immediate with appearance, and surface with united indissoluble ofart theory in on aesthetic lingers still beauty which of conception narrow “official”, certain, a on grounded are They chimerical. necessarily not are impact negative beauty’s regarding worries all these that true also is It justice. for preventfor standing up one not does suggest Beauty the contrary. studyaim to this of political beauty and reconcile way to awareness and engagement. critical with in placepolitical has no a minority, buy avalued itit or are can who produce those and people unequally among is(it distributed values) bourgeois’ (the values bea female’suty); gaze’ case‘male at ofthe in (like to feel we superior that amere object into it person by turning or object the damage from comes beauty: February 2011). Oxford, 1954, pp. 36-55.

Peter Benson, “On Beauty and Being Just by Elaine Scarry”, Philosophy Now Scarry”, by Elaine Just Being and Beauty “On Benson, Peter inW. Elton ( of Dreariness “The Aesthetics”, J. A. Passmore,

Besides these two categories of criticism there are also other secondary critiques of of critiques secondary other also are there criticism categories of two these Besides After noticing these contemporary critiques contemporary these noticing After (d) Passmorefurther points th (c) a favoured nother suspicion of beauty (closely related to the “beauty is too powerful” claim) claim) powerful” is “beauty too the to related (closely beauty of suspicion nother feminist aesthetic theory: when we look at a beautiful object/person we actually actually we object/person abeautiful at look we when theory: aesthetic feminist

Yet, I think we have significant reasons to consider that beauty matters for for matters beauty that consider to reasons significant have we think I Yet,

elite). - critical art production and strategies. In a nutshell, beauty is at odds odds is beauty at nutshell, In a strategies. and production art critical 216

All the above diatribes above the All 215 ; and and - ch of them nullifies the other. the nullifies them of ch since ea art critical Peter Benson accused beauty non beauty of accused Benson being Peter e contention that beauty expresses the wrong social social wrong the expresses beauty that contention e

154

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ed.), have contributed to the view that beauty beauty that view the to contributed have

– in which beauty is defined as being as defined is beauty in which AestheticsLanguage and , source: source: , never matter for political political for matter never

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CEU eTD Collection 217 woman as an possessing excessively“a divinebeauty God”). (likebridge This to means that from Dolce Nuovo Stil poets unique. All the not is example Dante’s beauty). makes him vulnerable Beatrice and even (he isweak inawed humbled front ofand her beautiful of contemplation His Nuovain. Vita Beatrice at staring gazer) amasculine (so, Dante of example the offers She looking. of acts generous of incapable are we that assumes just it because faulty is totally this argument that argued Elaine Scarry object. the or person bynot any defi is looking of simple act The untenable. is also critiques byfeminist announced powerless”) abou – political becomes it sense, this In insight. moral the of development further for allows and sensitivity our rekindles conditions, miserable in even beauty, incr piece that experiencing when myinappropriateness of own way) acknowledgement this and inpiece that that experience (to inappropriateness own my me of reminds image also drama that but that wounded achild of sufferance us from seeing and prevent not it does either; powerful” “too not is beauty that suggest would Then, I weak). too music situation therapy, of concrete the mention obviously it even not wouldneed does that much wrong be just It too opposing. to enough be helpf to “merelybeautiful” weak” or “too isbeauty be. beauty we to what take on a The reservations art. political

Dave Beech (ed.), (ed.), Beech Dave t changes in our conception of beauty of conception our in changes t The other ‘danger’ of beauty ((c) “beholders are all powerful and persons beheld are beheld are persons and all powerful are “beholders beauty ((c) of ‘danger’ The other t say that have I to Now, eases my awareness regarding human suffering. The compelling impact of impact The compelling human suffering. myregarding eases awareness nition a bad thing. I don’t see how our ‘looking’ how our seebad don’t the woulddamage I a /offend nition thing. Beauty

condemning social injustice (point (b)) (point injustice social condemning , MIT Press, , Press, MIT 2009

nd worries regarding beauty’s presence in critical art depend depend art critical in presence beauty’s regarding nd worries in war I am aware that beauty is inappropriate in presenting in presenting beautyinappropriate is that am I in aware war he first “critique” of beauty beauty he “critique” of first .

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byit. contextualizing 155 colour

ul for political art’s p art’s political for ul therapy and so on (so beauty is not not is beauty (so on so and therapy . When I see a beautifully depicted depicted beautifully a see When I . (point (a) according to which which to according (a) (point 217

“because we can bring bring can we “because urposes have seen the the seen have )

is so is so CEU eTD Collection easy (as that not is beauty because it as beautiful appreciate enoughto not is look object the does How beauty. for account to never senses)isenough our us (to before tly direc is that presented object form of art an all. The pure at object/situation an art approach to not is curiosity least at or preconceptions, interests, without art in beauty approaching that independent art meaning of any or alone, form the as perceiving beauty understood of that is aesthetics of problem characteristic and remarkable most the case that be the cannot It unacceptable. is actually this approach non pleasure, disinterested pleasure; immediate (as in art beauty understanding of way commonsensical the seems that It art. concerned politically and with critically odds be at not will beauty that of account an offer to was intention my beginning, the at Asstated one). even offensive an not (if concept relations ter (in power the looking inhuman generosity of degree assumeacertain rather should we hand, other the On versa. vice not and sees he what by “affected” is viewer the on the s the on idea the woulddiscredit artists political even and aestheticians many contemporary Perhaps (t be beautiful to struggle not does art political words, In other place. first in the beautiful be with. have couldmany I political striving be, art argued that is and beautiful, without times to enjoy ou to injust order attend we that something with least at or beautiful, be to meant something with associated necessarily is art approach, main this According to pleasure. disinterested of agency the as been defined are). lovingness his is not its main purpose or function) but in spite of this, many times, it is beautiful. beautiful. is it times, many this, of spite in but function) or purpose main its not is his For contemporary political artists “beauty” is a vague, deceptive and ultimately a futile futile a and deceptive is ultimately “beauty” avague, artists political contemporary For Traditionally (followingmainly but not exclusivel imple ground that conceptually “beauty” conceptually implethat ground

ms of beholders - functionality and so on) makes on) so and functionality - external concerns and purposes/functions. My point here is is here point My purposes/functions. and concerns external rselves, but not in order to get involved with or nervous nervous or with involved get to order in not but rselves, - beheld). 156

has nothing to do with c with do to nothing has

critical art anon art critical y Kantian aesthetics), beauty has has beauty aesthetics), y Kantian

than to suspect the presence of of presence the suspect to than - beautiful art. But But art. beautiful ritical, social or or social ritical,

prettiness or or prettiness CEU eTD Collection 219 218 of beauty. concept the around on going to is due tactics and strategies art’s political from rejected is beauty many times so that fact The empowering. and powerful message its makes piece that art apolitical/critical beauty of very is it the that suggest would I contrary, interest.” anyindependently practical of operate that value artworks to instead preferring and critical, the cognitive, the aesthetic, the together astandbring and take that practices artistic legitimacy of the contemplate to a- deeply is beauty on writing today’s and beauty of enemies be done about”. to something wants activist the is it whatever on tive perspec wrong induces the beauty because simply avoidbeauty; wish to should how activist the “I art: canin understand is activist adanger always there that stating art of engaged indictment his pronounced Danto Arthur message. the of forcefulness the blocks beauty since disappear should beauty stake at is message ifit, apolitical put Simply beauty. with concern theoretical than the sphere different in atotally justice social for concern art. as political matter to beautiful’ ‘too and aesthetic’ being ‘too for has criticized been art Her vis engaged politically is and content, and form in both Shir artist the instance, For art. political of appreciation voices maintain contemporary i very the moreover, and, art political Allworth Press, New York, 1998, p. 36. Allworth Press, New York, 1998, p. 36.

Arthur Danto, “Beauty and Morality”, in Bill Beckley and David Shapiro (eds.), Shapiro David and Beckley Bill in Morality”, and “Beauty Danto, Arthur (eds.), Shapiro David and Beckley Bill in Morality”, and “Beauty Danto, Arthur

Some theorists explicitly state that both the sublime and the political or “real” are the the “real” are or political the and sublime both the that state explicitly Some theorists mentioned, have I As in contemporary art practice there is a tendency which places the the is places which atendency there practice art in contemporary

that being‘too aesthetic’ or “too beautiful”

219 dea of avant of dea

157 these claims. On the the On I entirely claims. disagree with these

218 a huge misunderstanding and misconception amisconception hugemisunderstanding and

in Neshat expresses her critical stance stance critical her expresses in Neshat - - . Many Many . “beauty” rejects art garde à - vis both Islam and gender issues. issues. gender and Islam both vis political: “it is mostly unwilling mostly is “it political:

Uncontrollable Beauty Uncontrollable Beauty

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CEU eTD Collection 222 221 220 and beauty. art between contemporary philosophy meaning”). perceptual ready conceptual, for room (making considerably is enlarged of ‘art’ basisits very concept the on because especially importance and its strength clarifications of the 20 bei without art good be can something “the that discovery moreover, exile” and, “beautyin is that argued repeatedly and phobia) focus onmean to has which tended art political contemporary aim of a central been hasnever “beauty” why many. for convincing and powerful still seems dictum this and beautiful”) “‘merely’ call awork to that Shesaid once injustice. from social viewer’s attention wouldredirect its because traces art SteinGertrude ‘beauty’ beholdinginhasin that strongly to avoided contemporary political ulterior purpose) but, in the real world of no allowed, interest no sense of the (in “disinterestedness” and purity pleasantness, immediate “beauty” of rstanding unde an if endorse we only this argument accept r Wehave and exclusion. power of asign is which discourses institutional art’s important most the been of one has beauty that conviction based is the on art contemporary main anti The on. so and market art of academia, discourse their production as a sort of artistic

Arthur Danto, ‘The Artworld’, The Journal of Philosophy, Daedalus Beauty”, of Abuse “The Danto, Arthur See Susan Sontag, ‘An Argument about Beauty’, Daedalus, Another powerful claim is that political artists deliberately destroy or avoid beauty in in beauty avoid or destroy deliberately artists political that is claim powerful Another Arthur Danto has described t has described Danto Arthur 222 works comeinto pictu

ing and politics rather than on formal values. formal on than rather politics and ing At the same time I’m totally sympathetic with Danto’s great contribution to

of art beautiful beautiful of art th

century philosophy of art.” philosophycentury of Indeed, nowadays it is merelya ‘historical view’ (belonging to the

of art in what regards his arguments against the necessary link link necessary the against his arguments regards in art what of

re (since, according to Danto “X is art if it embodies a a ifis “Xit embodies Danto art to according (since, re means that it is dead (because beautiful has come to mean mean to has come beautiful is (because it dead that means “kalliphobia” beauty as his against reaction - political ‘statement’ against the official aes official the against ‘statement’ political

ng beautiful was one of the greatest conceptual conceptual greatest of the one was beautiful ng art, beauty isart, none , Vol. 131, No. 4, Fall 2002, p. 49. 158

221 Vol. 61, No. 19, 1964, pp. 571-584. -

Fall 2002, p. 22. made, performance art in it) and non in and it) art performance made,

I have no doubts that this argument has has argument this that doubts no have I

Many theorists follow follow theorists Many these. of

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which emphasizes

220 easons to to easons (beauty (beauty

That is is That thetic - CEU eTD Collection Journalof Aestheticsand Art Criticism 224 223 stinks; m lie; is a Truth unequivocal. quite is aesthetic and ethical cognitive, the to response avant Aesthetics” “Ideological his in Eagelton convincingly presented it onpurpose. should avoid art political consequence, racism, anti (like “values” social wrong expresses and serves many times theorized, traditionally is it which expresses the wrong social/political values something into beauty convert recommendations whose aesthetic theory narrow a denial on levels beauty has bee other many On productions. and forms art diverse most the of front in yes, and, sacrifice or act courageous a beauty of of the front in theorems; and proofs variousb kinds of in been beautyhasnever that fact discredited philosophical from art.” philosophy advanced of but art, from only not “beautyhad disappeared that posit to thing different is atotally there did), and Danto bebeautifulmandatory need (which art not and good art, of a work quality of of beautiful objects only. creation the with concerned and essentially is art paradigmatically that Aesthetics) of History it affords. it , pleasure disinterested which (a to according views it. disagreeinstead I pursue to livesinnever ceased have we and our present

The The in of Uncertainty”, Value the and Pleasure, Morality, Beautiful: of the Return “The Nehamas, Alexander Daedalus Beauty”, of Abuse “The Danto, Arthur I I questionthinkhaveno reason we to give to beauty uppursuingit, basing or our beaut that realize is to hand, thing one there other the on Yet, beauty isbeauty shit.

- feminism) but it does not follow that beauty always does this and, as a a as and, this does always beauty that follow not does it but feminism) eautiful objects of everyday life, in front of natural beauties, mathematical life, ofin objects mathematical everyday beauties, front eautiful of natural

and and And of course they are absolutely right. Truth is a White House Whiteis House Trutha right. absolutely are they And of course

notion, as Nehamas posited, Nehamas as notion, (b ) beauty has no other function or purpose, or function other no has beauty )

- ) beauty is that which gives to our senses immediate and and immediate senses our which to is gives beauty that ) garde’s choice to stay away from beauty: “The avant beauty: stayfrom away choicegarde’s to , Vol., 58, No. 4, Fall 2000, p. 402.

exile. It isenough to observe people’s reactionsin front of 223

This , Vol. 131, No. 4, Fall 2002, p. 37.

is an overstatement. I don’t know if beauty is a a is beauty if know don’t I overstatement. an is 159 . It is also beyond any doubt that beauty, as as beauty, that doubt any beyond also is It . 224

but what seems without doubt is the the is doubt without seems what but

y is no longer a necessary ylongeris anecessary no

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epting the pleasure pleasure the epting

with the narrow narrow the with - garde’s garde’s orality orality n/ is is CEU eTD Collection 225 beauty ( dependent Beauty . 4.3 beauty. about thinking common in and of art aesthetic theories inboth lessis popular of but beauty this kind beauty), (dependent another beauty talks Kant also about beauty). Curiously beauty,enough, conceptless useless pleasure, beauty” (unmediated “free of Kant’s type beauty, kind of one just avoid identified being source (its pleasure sensuous merely occasions which be that to taken is beauty that critical contemporary claim beauty that is and suspect detrimental human to values (including the political ones). cannot we be neglected to not are instances if these even But sexy). or beautiful as camp beauty is thoroughly inappropriate in some i art artistic hold isthat to right Danto and arm,moral a as limits has defined) and conceived wines)good beautybut is much.never too don’t I deny beauty isit that (as traditionally exhausted get we pleasure other any inexhaustible: is beauty desire of the out, pointed rightly Scarry Elaine and Kant As be. to taken is “beauty” what with but enemy.” political the over contemptuously be to important too are beauty and morality Truth, wrong. are they course, of Equally, perfume. advertising woman naked a is beauty Majority; Moral is the morality communiqué;

Terry Eagleton Terry Smith, James

Revisiting Kantian Theory of Dependent Beauty: Political Art and Dependent Let me first sketch Kant’s me Kant’s Let sketch first in beauty of appropriateness the against directed all critiques these that contend I

in pleasantlooking forms). It seems that contemporary politicalartists attempt to pulchritudo adhaerens pulchritudo - political art are triggered by a misunderstanding of beauty in the sense inbeauty sense the of amisunderstanding by are triggered art political , Polity Press, 2008, p. 372.

distinction between free beauty ( beauty free between distinction 225 ): ): 160

As we can see, the problem is not with beauty beauty with not is problem the see, can As we f ree beauty ree nstances (like the depiction of a concentration a concentration of depiction the (like nstances

is a beauty whose judgment is is judgment whose beauty a is

by (too much sex, byfood, (too ) and and pulchritudo vaga) handed handed

CEU eTD Collection 228 227 Philosophical Quarterly 226 function aconcept under a thing subsumingofmatter just abeauty is dependent that Theyof think the distinction. dimension teleological crucial the miss beauty dependent and free between distinction Kant’s discuss who of“Many those time): isitthat at how of invirtue just atime at beauty free has unlikefreebeauty the a thingis of independentitsfunction of which its andhistory of thing (a history, a has it if only function a has something that holds He function. of terms in beauty importanceNickZangwill convincinglyshows theKantian understanding of dependent The be”. to has thing the “what of meaning intrinsic an have and something represent something, about always are beautiful dependently are which Objects pleasure. intellectual us gives (b and kind) of acertain (a with concerns of independent is is self Free beauty object. an of form of the purposiveness the on solely based is beauty of judgment (free) pure A pleasure. is words) adisinterested without songs in beautiful take we pleasure (the beautiful flowers, words, birds). a without theme or music without greque, la a designs the with example Kant’s in (like nothing” represent “they meaning; subject’s the on based is pure Thisjudgment pleasure. aesthetic in subject’s the grounded Press, 2005, p. 333. Press, 2005, p. 333.

Nick Zangwill, “Beauty”, Jerroldin Levinson (ed.), The Nick Zangwill, “Beauty”, Jerroldin Levinson (ed.), The The Beauty”, Dependent and Free between Distinction Kant’s “Understanding Mallaband, Philip dependent Dependent beauty .” .” 228

Late

beaut

. But But itsisthe crucial. subsuming of something thing a under concept r on, I will make clearer what “ will what r I on, make clearer - subsistent (we like it freely on its its acco own freely likeon it (we subsistent , Vol. 52, No. 206, Jan 2002, pp. 66- .” .” with ity function beauty has certain is“the as athing that a thing of

aesthetic pleasure. Objects which are freely beautiful have no intrinsic intrinsic no which have beautiful Objects freely are aesthetic pleasure. ) functionality (beauty a thing has as a thing with a certain function). has as with athing certain athing (beauty functionality )

(also calle (also

) conceptual classification (the beauty a thing has as a thing a thing has as thing beauty a (the classification conceptual ) d by Kant 161 adherent a concept of afunction” a concept

Oxford Handbook of Aesthetics Oxford Handbook of Aesthetics 81.

, 226 accessory accessory

In this understanding our taste for taste our this understanding In unt). In conclusion, free beauty beauty free conclusion, In unt).

– beauty) is a beauty which beautyis which a beauty) a pure entails. , Oxford, University Oxford, Uni

judgment oftaste

versity 227

CEU eTD Collection i art of “beauty namely: beauty, on writings in Hegel’s is phrase There enigmatic an beauty”. “internal he calls what regarding his ofcontentions point starting the as Hegel’s aesthetics takes by intended meaning the with the first philosophers works holdingof artistic beauty that fusion display sensuous a of data of one he was since choice legitimate a Hegel seems to Referring case). art’s in critical beauty is seen by aesthetics many Kantian as aesthetics to (since Hegel’s mainly upon touch with politics inbeauty conjunction of discussions contemporary freely (purely)beautiful. beautifu dependently judge an object we more (and incase art’s generally) - political in beauty unless we deliberatelyits and disregard concept purposes. beautiful as freely view art cannot we case, In this way). inmost obvious the art political miss mea simply art of e experienc aesthetic fromit the Eliminating experience. from aesthetic be eliminated cannot cognition case) art’s (in instances in some that realized he why? Perhaps beauties – two the between distinguish need to the felt he se that ems It beauty. dependent Kant ( sense minimal in the least non beauty artistic judge to possible not is It beautiful. dependently picture Kantian in is this art Allforms. representational perceivable

art’s point. All art has a meaning and a purpose in a more direct or indirect way (and way (and indirect or in direct more a apurpose and hasmeaning All a art point. art’s explicitly states in the paragraph 48 of the third third the of 48 in paragraph the states explicitly In sum, dependent beauty touches upon aesthetic ideas rather than aesthetic than aesthetic ideas rather aesthetic upon beauty touches In sum, dependent In In what follows, I argue that Kant’s “dependent beauty” can adequately account for for account adequately can beauty” “dependent Kant’s that argue I follows, what s beauty born of spirit and born again” which comes to be explained by Danto Danto by explained be to comes which again” born and spirit of born beauty s critical art’s critical

Before developing this argument, let me recall that the few the me let that recall argument, this developing Before judgments of arejudgments judgments of the of concept the in light art of

the artist(including a politicalthe alsomeaning). Arthur Danto I claim that in political art’s case case art’s political in that claim I in general). in art (and case - depe 162 ndently. All judgments of art are dependent at at dependent are of art judgments All ndently.

Critique o purist/formalist to do justice to

that all artistic beauty is is beauty all artistic that l without judginl without ns to to ns g it it g but but ). ). CEU eTD Collection Afterimage, Duke University Press, Durham and London, 1998, p. 226). of Kantian aesthetics in theorizing political art (interviewwith Adrian Piper, conducte 231 230 spirit). in born is 1975. The line immediately follows Hegel’s claim that beautyof art is higher than the beautyof nature (since it 229 must beauty of judgment aesthetic the means that It mean? this does What formal. always be inK is to beauty taken else whatever since one justifiable seems a legacy This direct Kant’s aesthetics. from derives place. witho beautiful dependently judge object an can’t we that beautyfree and of beautyis asubspecies dependent hold that beauty or Kant’s dependent court tout of beauty Kant’s aesthetics reject who Those theorists, art. with at cri not odds is beauty” “dependent of Kant’s understanding aesthetic that irreconcilable. p aesthetic the that grounds the on project aesthetic Kantian entire the reject usually theorists art sensualistic. it, sees Hegel beauty, as that isit since obvious art, involved and concerned politically within beauty issue of the deal with meaning). than about rather concept) or idea, content, meaning, the in” to “beauty (internal about In this could talk wayidea). we of the embodiment a in work of the concept the to internal is beauty (a) instances: intermingled as two understood inhis article“Beauty and Morality”. Towar rtist’s mind, and (b) beauty is then enacted in the work itself (so, first the idea and second the the second and idea the first (so, itself work the in enacted then is beauty (b) and mind, rtist’s leasure we take in capturing beauty and critical engagement are fundamentally fundamentally are engagement critical beauty and inleasure take capturing we

There are, of course, few exceptions from that “rule”: for instance Adrian Piper defends the appropriateness appropriateness the defends Piper Adrian for instance “rule”: that from few exceptions of course, are, There (eds.), Shapiro David and Beckley Bill in Morality”, and “Beauty Danto, Arthur This statement appears at the beginning ofHegel’s Aesthetics: Lectures of Fine Art, Oxford: Clar d aNew Aesthetics

It is generally acknowledged that the modern stream of aesthetic formalism directly directly formalism modern stream of aesthetic the that is acknowledged It generally political how observe can we straightforwardly Kant’s aesthetics, When to come we 230

Nevertheless, Hegel’s insights on artistic beauty allow the political art theorist to theorist art political the allow beauty artistic on insights Hegel’s Nevertheless,

231

But is this so? Is this rejection of Kant’s aesthetics reasonable? I will show show will I reasonable? aesthetics Kant’s of rejection this Is so? is this But , Allworth, Press, NY, 1998, pp. 25- ant’s Third Critique, feature an remains invariant firm:beautyant’s is Third Critique,

has to do more with something cognitive rather than merely merely than rather cognitive with more something do has to 229

This “twice born” of artistic beauty may be be may beauty artistic of born” “twice This 163 “beauty (beau of” 38.

ut judging it freely beautiful in the first first the in beautiful freely it judging ut

ty thatis not internal to the

Uncontrollable Beauty: d by Maurice Berger for , fail to keep in mind in mind keep to fail , tical endon Press, Press, endon - political political CEU eTD Collection London,and 1998, p. 226 232 isbeauty”) in fact very generous. of judgment pure “the concerned with part the (except of art status the holds regarding theory aesthetic Kant’s what say that would Piper) Adrian (e.g. theorists and artists engaged artistic judging (to evaluations beautyEvenin political art). to relevant be can judgments beauties pleasing. aesthetically or beautiful theory this of consequence hi with identical is art of philosophy Kantian whole the that humming and the paradise, art (histo well only. art in encountered be can which beauty of kind without a theme or without words). beautifulin (withlikenature things several exceptions of appreciation aesthetic the for only beauty) beauty” (pure “free the reserves and beauty art’s beauty and natural between distinction this acknowledges Kant them, Unlike beauty. betweenbeauty distinguish appreciation andin don’t judgments art moral art) seem to bemore Kantian thanKant himself.They reject the relevance of cognitiveand of philosophy in contemporary the formalists moderate less or more others among Stolnitz Jer and Greenberg Fry, Clement Roger Bell, (Clive formalists the However, formalism). classical to according of agreeable, to status the and downgraded interest with infected co the with not and surface) of parts, arrangement (shape, formin object the with itself concern

Interviewwith Adrian Piper, conducted by Maurice Berger for Afterimage ntent because the latter could be connected with interest (even acolourinterest with could connected be latter ntent because the Unlike the “Kantian” formalists, Kant distinguished between beauties of nature ( nature of beauties between distinguished Kant formalists, “Kantian” the Unlike beauty pure natural, to points beautyhe always pure free or to heWhen refers ) and beauties of art ( art of beauties and - known examples are:flowers (especially roses),birds (the parrot, thebird of

( - which bird) and a lot of crustaceans in the ocean. This does not mean mean not does This in ocean. the of crustaceans lot a bird) and

adherent beauties

232 later on later became popular

He also introduces “dependent beauty” as a legitimate legitimate a as beauty” “dependent introduces also He From Kant’s acceptance of moral and cognitive in the moral cognitive and of From Kant’s acceptance 164 ), and recognized that cognitive and moral moral cognitive and and that ), recognized

a la grecque ala and designs the )

is that art had to be by had definition to is art that s theory of beauty even if a a if even beauty of theory s , Duke University Press, Durham Durham UniversityPress, , Duke

in art andin natural art

could be

and not not and

music music pure ome ome

CEU eTD Collection manner fulfilling (just t infunction acertain a properly fulfilling with the it is connected but closely theory) aesthetic Kant’s interpret some (as concept a under thing a of subsuming matter only a not is beauty us makes fulfilled is function that which in way the and of athing function acertain sense that in the beautiful is dependently political art words, In other functions). it (its of aspect teleological the and beauty) adependent it makes actually its aboutness it embodies, ideas the content: conceptual its consideration into take to you need unavoidably art political piece of a judge aesthetically to In order beauty. (pure) free 235 234 233 philoso Kantian a within ethical this consequences’, but is Kant’s.” theirnot problem and from cognitive is ‘free Kant of aesthetics the that assert to and reverse claim the able to rough. th epistemological and through as wellas political is “it doubt: without is thing one but conclusive, from far is certainly art of philosophy Kant’s aesthetics art of its causality).” in (and cause the apurpose always presupposes art is [ thing the of what a concept it on base first must “then we art in beauty isof thing the objec kind of what concept any need We don’t nature. in only Kant for functionless and conceptless beauty beauty” is dependent ofincluding things, political without agitprop art, violating Kantian strictures.” WeKantian have can art. identified be as to get objects infer e can “we beauty), natural of not (but art of evaluation

Paul de Man, “Aesthetic Ideology”, University of Minnesota Press, Minneapolis/London, 1997, p. 106. Cr The Kant, Immanuel Ibidem Kant himself has pointed out that “ that out pointed has himself Kant right: is Piper Adrian extent some To .

differs greatly from his his from greatly differs t meant to be. But with art is different. Kant says that when we encounter encounter we when that says Kant is different. art with But be. to meant t itique ofitique Judgment he function would not be sufficient). be not would function he phy of beauty, as a relevant example of ‘ exampleof as arelevant beauty, phy of

Critique of Aesthetic Judgment Critiquehis of in 48 section (see

, trans. Werner S. Pluhar, Indianapolis: Hackett, 1987. aesthetics of nature of aesthetics 165 grasp that thing as beautiful. Dependent beautiful. thing grasp Dependent as that - style aesthetic experiences of all sorts sorts of all experiences aesthetic style

Several intellectuals… have been xactly nothing about what sorts of of sorts what about nothing xactly 235 .

The treatmentof

Political art could be theorized could theorized be art Political dependent beauty’ dependent 234

This shows that shows This meant 233 the aesthetic ] to be, since since be, to ]

). Beauty is is Beauty ).

all

but not as as not but

artistic (which (which Kant’s Kant’s

in in CEU eTD Collection 237 Beauty’, to dependent beauty). Philip Mallaband, ‘Understanding Kant’s Distinction between in Freeresponding and enough Dependentnot is response intellectual (the response intellectual and response on hedonic both based judgment So the of dependent beauty beauty). (free is pleasure aesthetic gives which qualities aesthetic object’s of the perception the from starts response) intellectualized (an beauty dependent that believes Janaway short, Thi qualities. aesthetic object’s the of experience by the caused response hedonistic appropriate the is pleasure So aesthetic thing). that in experiences subject pleasure aesthetically then he will allow afree play of his/her imagination and understanding which causesQuarterly the feeling of Mallaband, ‘Understanding Kant’s Distinction in betweenthe object caused by conceptually a experience thin Free of the object” (Malcolm and Budd, quoted Dependent in Philip Beauty’, P The judgmentjudgmenta heartat must its have firstly judged freely beautiful: “the judgment of free beauty isa ‘pure’ judgment of so taste, any aesthetic 236 gainsay the not does aconcept without pleases beautiful the that demonstration Kant’s idea… Kantian to corresponds of taste aesthetic formal a little how clearly shows thesis . of art” work pleasea as into order fully pleasant taste merely than more bemust “something admits that Kant also count). that pleasures kinds of other are - non - non on made is beauty dependent of judgment the that neither many) by held is it (as follow not does beautiful freely being without beautiful dependently maybe case) in our art something (political fact that the From realm. aesthetic the within infree firstin ofgrounded judgment independence beauty place the any still and this remains developedin follows. what ques two first the for “no” are judge an object dependently judging beautiful without it freely beautiful? My answers short we Can beauty? free of subspecies beauty a dependent Is theory? aesthetic for superfluous Seve not. does judgment) impure an beauty (being dependent of judgment while the realm, aesthetic within the

Immanuel Kant, The Critique Kant, of Judgment Immanuel For instance, Malcolm Budd holds that an object be cannot judged dependently beautiful without being genuine aesthetic judgment. aesthetic genuine Some contemporary aestheticians claim that only the judgment of free beauty remains remains beauty free of judgment only the that claim aestheticians Some contemporary We cannot reduce our pleasures in experiencing art to immediate/pure pleasure (there (there pleasure immediate/pure to art in experiencing pleasures our reduce Wecannot be made not need beauty we of dependent judgment aesthetic with, the start To Th – , Vol. 52, No. 206, Jan 2002, p.72). Christopher Janaway claims that if a person experiences something

aesthe e Philosophicale Quarterly tic pleasure

(based on the perception of the formal purposiveness without a purpose which the ral questions are unavoida are questions ral

tions and “yes” for the third one. The detailed answers will be be will answers The detailed one. third the for “yes” tions and , Vol., 52, No. 206, Jan 2002, p.72. 236

of free beauty which is based upon nothing but the hedonic response the but nothing upon based is which beauty of free , trans. Werner S. Pluhar, Indianapolis: Hackett, 1987, par. 48. s is the ground for the aesthetic judgment of free beauty. In 166 s dependent beauty a concept that is is that aconcept beauty is dependent ble:

sthetic grounds nor that it is a a is it that nor grounds aesthetic 237

As it: puts “this Gadamer hilosophical

fact fact

CEU eTD Collection 241 British Journalof Aesthetics 240 239 238 to be able must “we that sense in the beauty dependent the over beauty free of primacy the criteria.” by‘intellectual’ judgm aesthetic of nature the exhaust to it claims rather, that, mere precondition being a from is far so of taste standpoint the 16) Kant’s paragraph (in judgment‘pure – of taste’ the on founded is aesthetics if art to justice do to impossible it “seems that argues Gadamer on aesthetics the an point leavingof philosophy to adequate us without art” of posi aesthetic thehold privileged that theirphilosophical some Depending orientation aesthetics. on systematic inKant’s mistake) (a misplaced totally distinction see the Some critics critics Kant’s inspiring beauty. their appreciate to inorder grasped be is to that necessary by thought the is explained beautiful pieces the with art whereas its explains that thinking or thought with connection little is there beauty, natural of appreciation In the different). on quite us are effects their (and identically experienced not are in find which we art beauties beauty and natural clearlythat state to need We cases). aesthetic (non cases in other than cases in art different something to amount must “beauty” term the that mentioned be it should on, later issue this say about to more willhave I d I if Even be. to meant is object an thing of kind what of concept no need we beauty, judge natural into that in 48 order paragraph the stillinsists Kant interest.” total our us evokes to meaningfully speak that things beautiful only the that Art Hans Georg Gadamer, Truth andMethod Gadamer, Georg Hans The Beauty”, Dependent and Free on Kant Regained: Paradise is of Art Experience “The Dutton, Denis Truth andMethod Gadamer, Georg Hans hur Danto, ‘The Abuse of Beauty Other theorists, like Ruth Lorand, Nick Zangwill or Christopher Janaway tend to stress stress to tend Janaway Christopher or Zangwill Nick Lorand, Ruth like theorists, Other enough, controversial be to seems beauty dependent and free between relationship The tion given to the free beauty is “dangerous” on the grounds that “it concentrates “it concentrates that grounds the on “dangerous” is beauty free the to given tion

p. 231. p. 1994, July, 3, No. 34, Vol. , to react from both analytic and continental philosophical aesthetics. aesthetics. philosophical and continental from analytic both react to 241 unless the criterion of taste is made merely a precondition... Here Here a precondition... merelyis made taste of criterion the unless

, Deadalus’, , London and New York: Bloomsbury, 1989, p. 42. p. 1989, Bloomsbury, York: New and London , , Continuum, London and New York, 2004, p. 42. , Vol. 131, No. 4, (Fall 2002), p. 53. 239 167

ent and protect itfrom being limited on’t agree with this requirement and and requirement this with agree on’t

- art cases but still still but cases art

existence; existence; . 240 238

But But Also Also CEU eTD Collection 245 244 ofJournal Aesthetics 243 242 gainsome seems to He beauty. free of idea discardthe to proposes and with acontradiction” Ka that acknowledges who like Dutton Denis theorists are there Fortunately, beauty?) adependent “merely” is achurch he why say that would beauty (otherwise pure/free inferior isto beauty is All based Kant beauty. free says somehow is on dependent that beauty dependent claim that not does Kant However, enough. not is beauty free to ascribe we response type of pleasure the beauty) art’s beauty (political meaningful a For beauty. free in immediately. and directly senses our confronts what to only aesthetically respond to begin all we and one dependent to beautyfree in place. first the wor for argue to continues but thesis” for primacy the argue to how sure not “I’m states clearly He beauty. free of mediation any without appreciated were, the ground from love which our beauty dependent of springs.” it is, as beautyfree love free Our of about beauty. not beautybut dependent onlyabout cared be people who not could There other. the of conceive can we because one of only conceive wo beauty other no beauty, free of aconception without that is free appreciate to able be must of art) as works designate would we everything almost of Kant’s aesthetics from removal the wouldbe its consequence since unacceptable obviously is conception this nevertheless (but all at beauty not is beauty dependent that stating position appreciate Press, 2005, p. 335. Press, 2005, p. 334. Denis Dutton, “The Experience of Art is Pa Idem, Nick Zangwill, “Beauty”, Jerroldin Levinson (ed.), The Nick Zangwill, “Beauty”, Jerroldin Levinson (ed.), The

Zangwill fails to provide an explanation of why the dependent beauty cannot be be cannot beauty dependent the why of explanation an provide to fails Zangwill p. 336. free beauty if we are to appreciate any appreciate if to beautyfree are we

, Vol. 34, No. 3, July, 1994, p. 231. p. 1994, July, 3, No. 34, Vol. , Art aboundsin example of works of artisticmerit without excelling 245

It isnot satisfactory to find out that free beautyis always prior any appreciate to if are we beauty radise Regained: Kant on Free and Dependent Beauty”, The British Beauty”, Dependent and Free on Kant Regained: radise 168

Oxford Handbook of Aesthetics Oxford Handbook of Aesthetics

beauty.” . 243 ks of artistic merit which excel in in excel which merit ks of artistic 242 NickZangwill argued that: uld be accessible to us. We can Wecan us. to accessible be uld

There is even a more radical radical more is a There even

beauty. The primacy claim claim primacy The beauty. 244

, Oxford, University Oxford, University nt is “burdened is “burdened nt

“we “we

CEU eTD Collection 247 at 246 is humanbeing an intelligent acultivated, for such view experience the comes that Kant to unm likes). flowers she the in sees she/he like which background the beauty, apprehending subsistent bepresuppositionlessbeauty. able pursue To to thisburdensomebeauty (free/pure/self self “mere”, no is There its context. to related we normally re “beautiful” something call we When beautiful!” stillis it be arat, to out turns adove it was I thought ifwhat “Even or beautiful!” it was so but it was what it or painted who care “I don’t har are People is itbeautiful”. is, X but what care “I say: don’t to awkward seems almost It vacuum. ina conceptual nature) from or art from ifis itmatter (no something abeautiful could we appreciate how imagine to impossible is psychologizingbeautiful, the whichfor Kant is unthinkable.” to amount would this because viewpoint, a choosing or apprehension, attention, free/dependent “The of Judgment”: beauty in “Critique concerning Kantian with project the inconsistent itsince is appear, totally may solution this diplomatic and “peaceful” how matter not does It entails. beauty dependent attenti and beauty) free of case the (in purposiveness formal to attention pays receiver the seeing”: “aspect Wittgenstein of sort a of means withnot is depen difficulty philosophic “Kant’s deepest fromsupport Gadamer’s considerations“Truth in and presented according Method”, which to http://www.denisdutton.com/kant.htm

Idem available Beauty’, Dependent and Free on Kant Regained: Paradise is of Art Experience ‘The Dutton, Denis anageable andeve it, put Asn Dutton unnecessary. .

In Dutton and Gadamer’s spirit, I believe that the concept of “free beauty” is is beauty” “free of concept the that believe I spirit, Gadamer’s and In Dutton It “legendary”. indeedis almost beauty) beauty (free pure say that confidently We can the by beauty dependent and beauty free reconcile to point this at propose might One ) one has to be for the first time on earth (and even then, some context will matter in in matter will context some then, even (and earth on time first the for be to has one ) flect on what kind of an object Xis, or possibly couldbe, or how it could be

(last accessed 6August 2013).

distinction cannot be wholly a matter of mode of mode of of matter be a wholly cannot distinction 169 dly heard sayingdly visiting after an exhibition: dent, but withfree but beauty.” dent,

“in the fullness hisof investigations, on is switched for whatever the the whatever for is switched on

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- CEU eTD Collection at 248 beautiful? still her found have we would man, Asian an been Lisa Mona Had success. artistic and beaidealuty of cannons the about more think her to determines and beauty otherness’ the with viewer) Western the (especially viewer the confronts of over The act rpieces). maste history’s art or industry film Western of the icons are impersonating is he stars the (all success of distribution unjust the about you aware make to atask: performing perfo a becomes body own The artist’s world. Western the Western identity, issues (masculine gender regarding stars. Morimura’sisHollywood’s pop nevertheless raises It art loaded. politically questions his ownface or bodyinto them. This operationis also undergone with photographs of FridaKahl Vinci to da Leonardo from (ranging art historical from images borrows He Sherman). Cindy of version masculine/Asian thought. have commentators po easily not is beauty dependent and free between fluctuation the that This proves time. same the beauty at free/pure be as apprehended which cannot beauty contextual and conceptual of example aclear as here helpful be would art political Morim Yasumasa bones, theoretical these on flesh some put to Just kind. any beauty of apprehend whenis we unavoidable conceptual Thejudgments. deliberation context.” human its on dependence complexit infinite in the lost ultimately is beauty free ideal… impossible http://www.denisdutton.com/kant.htm

utton, ‘The Experience of Art is Paradise Regained: Kant on Free and Dependent Beauty’, available available Beauty’, Dependent and Free on Kant Regained: Paradise is of Art Experience ‘The Dutton, Denis rming in the first place a show by the means of his impersonations – impersonations his of means by the show place a first in the rming - Yasumasa Morimura is a Japanese appropriation artist (many times labeled as the the as labeled times (many artist appropriation Japanese a is Morimura Yasumasa imposing his face on these pictures or paintings acquires a political significance: it it significance: political a acquires paintings or pictures these on face his imposing - Eastern dichotomies and prejudices, and challenges the beauty cannons of of cannons beauty the challenges and prejudices, and dichotomies Eastern

(last accessed 6August 2013). - feminine identity, opposing- hetero 248 o to Rembrant and Manet) and over and Manet) and Rembrant to o

The impure judgments of beauty are still aesthetic aesthetic still of beauty are judgments impure The 170 locus

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What I have set forth until now was an attempt to reconsider the Kantian theory of of theory Kantian the reconsider to attempt was an now forth until have I set What White Cube, – etic judgment of dependent beauty. There is no need for the pure judgment of taste judgment of taste for pure needthe no is There beauty. of dependent judgment etic a Japanese Kabuki theatre’s tradition of cr of tradition Kabuki theatre’s Japanese a - portrait of the artist in drag “injecting a Western icon with the spirit of of spirit the icon with Western a “injecting in drag artist of the portrait http://www.whitecube.com/exhibitions/morimuraphotographs

at a at ll (not even freely beautiful). freely even ll (not ty” without judging it in the first place as freely judgingfreely infirstit place the as ty” without 172 Fountain Fountain erience it in a conceptual vacuum (as it in vacuum (as erience a conceptual - oss and a regular toilet are. Morimura Morimura are. toilet regular and a dressing.”

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Apprehending the the Apprehending - beautiful and and beautiful rent one. one. rent lly lly CEU eTD Collection 251 Blackwell Pu 250 exampl to “free only referring beauty” talks about Kant Ashave seen, we beauty. natural of theory well a uses She in arts. and nature in take admiring we pleasure the replace can considerations These beautiful. in something matter considering do considerations ethical cognitive its Our and beauty. for unchang beliefs or values change.” one’s as by displeasure is replaced even or disappears, diminishes, beautiful is something judgment that the for and pleasurerequired “the moral attitudes”, and beliefs factual context a is “beauty contextual: and mediated are events beauty. Kantian and beauty contextual language: in our entrenched “beauty” of senses two about talks Eaton Muelder Marcia s but rightly (sometimes theory art incontemporary many times attacked been hasjudgment His aesthetic philosophy beauty). of regards the(in dependent what set of beliefs, pr beliefs, of set our on depends beautiful consider we what and day) rule the to supposed is beauty free where nature, in beauty (even of perceptions conflicting always are there that show to wants Eaton wipe urgingofficeit door us upbec to her with on thisfried plant even has a poster (the friendand ugly repulsive findsit designer flowering plant – anymore). me pleasure give not beautifullongerit immoral, consider is no does (it or X dangerous I discovering that

Idem, Marcia Muelder Eaton, “Kantian and Contextual Beauty”, The Journalof Aestheticsand ArtCriticism Eaton invokes the p the frominvokes naturees from (not art). Eaton

To sum up, I am not sure whether not sum am I up, To Eaton rightly argues that beauty is not an immediate feeling, disinterested and and disinterested feeling, immediate an not is beauty that argues rightly Eaton p. 13. ing. If something is beautiful, then the pleasure in seeing it is not enough to account enoughnot to isit seeing in the pleasure isbeautiful, then something ing. If blishing, Vol. 57, No. 1, Winter, 1999. Winter, 1, No. 57, Vol. blishing,

ejudices, previous knowledge, and the context which for her seems so beautiful and “eye catching” while her landscape her herlandscape which for beautiful while “eye seems so and catching”

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Marcia Muelder Eaton, ‘Kantian and Contextual Beauty’, The Journalof Aestheticsand ArtCriticism 1. Functional Beauty: Beauty and Function in Political Art

give us immediate aesthetic pleasure). aesthetic immediate give us might which Guernica, like eptions, exc several (with pleasure immediate/aesthetic give not does us art political generally, look, its unappealing of Because a beauty (dependent beauty to relation in functionality on focus will I follows, what In thing with a certain acertain with thing 252 - non t,

I can hardly disagree with this point; indeed, it indeed, point; this with disagree hardly can I pure) pleasure is still aesthetic and is still pleasurable. is still pleasurable. is and pleasureaesthetic still pure)

function).

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3. 2.

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Political art’s main function is to criticize heg criticize to is function main art’s Political - 175 perceptual but still aesthetic and still beautiful). beautiful). still and stillbut aesthetic perceptual

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CEU eTD Collection Carlson and Glen Parsons, Functional Beauty 254 253 political beauty in of functional to me offer an account beauty seem inappropriate to functional condition consider to Xbeautiful. necessary) not (though sufficient a is this Z, function for fitted is X object if the words: for Inthis. other it couldbe sufficient beautiful, beto an considered for object necessary posits that fitness for Hippias) Greater (Plato, beautiful” call we useful is “whatever and in Memorabilia) (Xenophon ill adapted” are which they for those to relation purposes those to relation in beautiful beauty. functional of versions weak and strong between distinguish clearly can we issue, beauty o tradition obscured the documented recently have Parsons Glen and Parsons Allan As on. so and it, in good feels foot the if beautiful is shoe a summer; for purpose. beauti makes something what In paradigm, this purpose. another to reference ( beautiful called be might object beauty h displayedin the way theyare displayed, func fulfil unappealingismeant to one)

For a detailed distinction between weak and strong versions of beauty in classical philosophy, see Allan Allan see philosophy, classical in beauty of versions strong and weak between distinction a detailed For Functional Glen Parsons, and Carlson Beauty Allan tion, and the ways in which that function is achieved through those features which are are which features those through achieved is function that which in ways the and tion,

The fact that an aesthetic property is displayed in a certain way (even in an inan (even in way acertain is displayed property an aesthetic fact that The : “all things are good and “all are good : things function for fitness is beauty that holds version strong The pre the In - as been understood as fitness for a purpose/function. In classical Greek thought an fitness as an for a purpose/function.classical In Greek thought beenas understood critical art. Unlike other things in this world which may not have aspeci not may which in world this things Unlike other art. critical

A house is beautiful if it keeps warm during the winter and cold during the the cold during and it the winter if during warm beautiful keeps is Ahouse - aesthetic era (before the 18 the (before era aesthetic

function is “one beauty among the others”; though fitness it is not not is it fitness though others”; the among beauty “one is function

kalos

254 the function of political art. Once we understand that that Once understand we art. of political function the , Clarendon Press, Oxford, 2008, p. 2.

)

we can see the work of work beauty. can the we see

Yet, both strong and weak classical versions of of versions classical and weak both strong Yet, for which bad in they are well adapted, and ugly - non and a purpose to reference with 177 , , Clarendon Press, Oxford, 2008, p. 2. th

century),in classical philosophy’s tradition, 253 .

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CEU eTD Collection utilityisseriouslyphilosophical“The questioned. Burke’s the Origininto study Inquiry our of and beauty between connection possible any century Eighteen the with starting Even that. object the of appearance aesthetic the affects function of Knowledge beautiful. anfor befunctionally item called to be sufficient Fo beautiful. be asobject to functionally considered an for one asufficient but condition anecessary not is function for fitness Davies and Carlson Parsons, For beauty differently. functional he conceives because convincing particularly findnot does Davies approach. internalist Carlson’s and than Parsons beauty Kant’s dependent better fits watches Swiss beautiful to reaction our idea of this agree, to and Davies, tend I to according Anyway, beautiful. functionally modelis of why aSwiss not is the only reason function the fulfilling merely means that This function”). that achieving its into “goes that craftsmanship skilland of the because beautiful more functionally model whichit properties in manner the of because beautiful more functionally and is aesthetically one The Swiss fulfil both they though even watch quartz a than beautiful more functionally judge we as watch aSwiss that says Davies beauty. possess and functional functionali with all concerns Not ground. this on solely beautiful are they claim that cannot we but function claim (Parsons, aestheticians contemporary some as function) its for fit looking is (x function to fitness merely not is beauty functional functionis asufficient conditionfor political art t meanit that does Nor beautiful. it automatically renders (functions) political Knowing the function of an art piece must change the way the object looks to us. looks to way object the the change piecemust function of art an the Knowing look which properties exhibit manyThere which are things - critical art has one but this does not mean that the simple achievement of its function function its of achievement simple the mean that not does this but has one art critical ty are also aesthetic concerns. also are ty fulfil the

function of time showing (Davies says that we consider the Swiss Swiss the consider we says that (Davies showing function of time

Carlson, Davies). Carlson, 178

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Alison, quoted in Allan Carlson Glenand Parsons, Functional Beauty well “How Political - argument: the pig’s snout may displease for its dirty appearance and smell (in other other (in smell and its dirty appearance for may displease pig’ssnout the argument:

fitted is the wolf for running and leaping! How admirably isthe lion armed for battle! But will 256

not immediately to be struck by its beauty. It is not an immediate pleasure we we pleasure isimmediate annot It by beauty. its be struck immediately to not - critical art is somehow like Burke’s pig. We have to look at it with a kind of at it look with akind of Wehavelike pig. to is Burke’s art somehow critical

It is always important in our aesthetic experience to understand to in aesthetic experience our important is It always so the strong version of functional beauty is false. The weaker version version The weaker false. isbeauty functional of version strong so the

, quot,

ed in Allan Carlson and Glen Parsons Functional, Beauty 255

But AlisonBut of (one Burke’s e scured,in its suitability ofform function: to “We 179

an important piece of textual evidence. He He evidence. textual piece of important an , Clarendon Press, Oxford, 2008, p. 23. e function. function. e arly critics) is offering a a offering is critics) arly

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Yanagi Miwa or Miwa Yanagi much their physical appearance declines. appearance physical their much , begun Series in Grandmothers 1999. The My Japanese critical r beauty). beauty). r

But, on the other hand, I see nothing unacceptable unacceptable nothing see I hand, other the on But, 180

Morimura’s impersonations are. The beauty of The beauty of are. impersonations Morimura’s

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CEU eTD Collection 258 257 dependently are They us. to beautiful them ar these of function the what We know senses. in our they occasion pleasure immediate the or them of mere appearance the not and beautiful them renders purpose what with and displayed, are they as displayed are they reason what for from, made are what they know we that fact The objects. those about reflection in our (mostly) also but eyes, meet spectators’ to displayed and arranged are objects in these way the or themselves in objects the necessarily not lies pieces these from New York streets and turn theminto artistry (eveni or ocean from the bottles plastic recycle artists contemporary example, several For it acts. it stops if pure make out, beauty has we pointed Eaton As Marcia pieces. art in political matter does meaningfulness as understood only and meaningful always is Beauty it. to responses in our detected are impacts its and isbeauty purposeful informed conceptu and contextually sight, at pleasing and catching eye immediately useless, distanced, as theory aesthetic traditional in beauty of understanding commonsensical the (I well as function rhetorical a and tears), forth bring to even (perhaps express to emotion and sentiment relevance of some otherfunctions beauty, of namely: healing, inspiring generosity, allowing byfunctionality. separated - concept neither is beauty Then, it performs. critical) for function (political the of art it as piece abeautiful We experience contrary. the but on asure ple disinterested and immediate an viewer in the occasion not does impersonation of this beauty The function. critical with a artist”) the of face Asian with Monroe (“Marilyn beauty Blackwell Publishing, Vol. 57, No. 1, 1999. 1, No. 57, Vol. Publishing, Blackwell

Source: Source: Marcia Muelder Eaton, ‘Kantian and Contextual Be Political art is beautiful for what it does, for how it acts and for the reasons it acts how how it acts reasons the for and it acts how for it does, what for isbeautiful art Political function o critical the Beside -lumenhouse/ http://artthreat.net/2010/11/convergence

don’t discuss them all here but they will be the focus of my next research). Unlike Unlike research). next my of focus the be will they but here all them discuss don’t

tistic forms is and the fact that we know their function renders renders function their know we fact that the and is forms tistic

f argue beauty I within forart, political the political

beautiful things that are beautiful as things with with beautiful things as are beautiful that things 181 auty’, The Journalof Aestheticsand ArtCriticism less or immediately pleasant at sight nor nor sight at pleasant immediately or less

(accessed 10January 2011). n beautiful forms). n beautiful

mattering. 257 258

The beauty of The beauty of , ally ally - CEU eTD Collection Journalof Aestheticsand Art Criticism 260 Criticism, 259 subject whichthe defendreproduction and values promote shared of surface, symmetry, as envisaged you.” to arrangement an oppressive may represent in object a beautiful sy if the secondly, and changing constantly is in aesthetics as symmetry counts “what because accurate But not isthis another”). one loveloving we justice symmetry, in“symmetry which consists the ofrelation everyone’s to loving (in justice distributive with and symmetry with beauty connect to wants Scarry Elaine case). graffiti’s (political vandalism plain just others for is art beautiful people’s Some beautiful. ideas universally are these mean that not This does non like some exactly value and qualities have do aesthetic ideas because beautiful and political is piece art conceptual the time, same the At so. it find enough to is concept still in the find and beauty of place we if still idea the beautiful have we reasons the Art), Conceptual (via proposition as analytic of art by work is the replaced appearance political by an distract creating seems to 4.5. Conclusions not. mere has appearance of the justic environmental ideas or of social certain express to are functions Their functions. certain

The The in of Uncertainty”, Value the and Pleasure, Morality, Beautiful: of the Return “The Nehamas, Alexander Journal of Aesthetics Danto”, to and Art Response A Beauty? to Happened “Whatever Higgins, Kathleen See e. Beauty of an idea always has consequences in our lives in a way in which the beauty beauty the in which in away lives in our has consequences idea always an of Beauty e. - Politics becomes beauty’s opponent. It seems right to consider this as long as beauty is is beauty long as consider as this to seems It right opponent. beauty’s becomes Politics As Kathleen Higginsbeauty suggests, may exactly serve fromthe goals it which consumers conditioned by the normative inclusions an -

No. 54, 1996, pp. 281-284. critical art. critical

259

Even in the case in which the art object of spatial and perceptual perceptual and spatial of object art the which in case in the Even

, Vol., 58, No. 4, Fall 2000, pp. 393-403. indispensablemental awareness whichis unavoidablefor mmetry varies, then the symmetry that pleases me me pleases that symmetry the then varies, mmetry 182

beauty we love symmetry and in in and love symmetry beauty we d exclusions.d As Nehamas put

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The The in of Uncertainty”, Value the and Pleasure, Morality, Beautiful: of the Return “The Nehamas, Alexander “the reason we cannot answer the question why is beauty valuable is that it is a bad is itbad is a that valuable beautyis why question answer the cannot we “the reason Beauty is not meant for being merely looked at and be pleased because beauty can is meant beauty can for because andBeauty at looked not be being merely pleased sup and powerfully to is function main beauty’s that case the be cannot It on and deliberation. Works that don’t look beautiful may turn out to be beautiful beautiful be to out turn may beautiful look don’t that Works deliberation. and on

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we appreciate them. My suggestion is that beauty is not “useless” “useless” not is beauty is that suggestion My them. appreciate we 261

, Vol. 58, No. 4, Fall 2000 Fall 4, No. 58, Vol. , lookingbeauties comport themselveslike a reminderfor viewer’smind correct or to behaviours 183 , p. 402. 402. p. , d criticalh. and through throug

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Sabine Vogel (2011), ‘Political Patterns Frieze, mances in the Cathedral of Christ the Saviour the Christ of Cathedral the in mances (a) (b)

eform activists to close a maximum security prison in Illinois) and to handmade handmade to and Illinois) in prison security maximum a close to activists eform http://blog.frieze.com/art- being politically effective effective politically being e of political art’s campaigns, campaigns, art’s political e of nothing concrete is done/changed but more and more people are aware of a a of aware are people more and more but is done/changed concrete nothing

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calledLEGISLATIVE ART and political change) -politics 265 - Changing Ornament’, Nafas Magazine Art

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(accessed July 2012).

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I argue elsewhere that not all arts that are usually secluded in the area of th area the in secluded usually are that arts all not that elsewhere I argue Hubert van den Berg,, “But question to the answer proper the theorists, contemporary some for that argues Amy Mullin instance For Living as Form: Nato, Sociallyn Engaged Art fromThomso -2011 1991

What Reasons Are For Denying or Affirming the Political Effectiveness of Critical Critical of the Political Effectiveness Affirming or Are Reasons What For Denying

Yet, there is also another tendency to question critical art’s pol art’s critical question to tendency is another also there Yet, “On the Historio http://www.public.asu.edu/~kleong/activistarttheory.pdf

?” but a different it “Is useful?” one: ?” adifferent but a political function successfully (for instance, it is effective if it is instance, it effective gives (for function successfully a political 269 critical art is many is art critical

Art as resistance or critique is said to be just as meaningless from the from the meaningless be as just to critique is said as resistance or Art 268 -Garde / Neo-Avant

and other art in art other and

graphic Distinction Between Historical and Neo and Historical Between Distinction graphic In other words, for some theorists lin, “Feminist Art and The Political Imagination”, Hypatia, Vol.

- critical art?” Many activists and critical theorists theorists and critical activists Many art?” critical

189 times evaluated and judged in terms of social in of judged terms and evaluated times -Garde

stitutions of collaboration” among artists who work in an an in work who artists among collaboration” of , Rodopi Editions, Amsterdam -

as “a commercialized repetition of its its of repetition “a commercialized as 267 , Creative Time, New York, 2012, p.

e “ornamental” or “decorative” are are “decorative” or e “ornamental” ). The “is it useful?” question it useful?”question The “is

- political , - made made tradition of making -Avant itical effectiveness on - critical art is no no is art critical Garde”, in in -Garde”,

270 New York, 2005, 2005, York, New critical art is art critical

- political its Yet, even if even Yet, or or brings - CEU eTD Collection New York, 4 October 2012, source: source: 2012, October 4 York, New 271 political conventions” female role models; of totalitarian political systems; of standardizing behav too. As Sabine Vogel argued, the ornament is increasingly being used as a means of criticism: “of suffocating symmetry injustices and and harmony conflicts about totalk can but satisfy acatalepti of pleasure c aesthetics inextricably boundup in discussions about taste and beauty. Yet, ornament does not necessarily talk about covering but a way of spending time usefully, politically and became critically. ornaments we As know, domination of mechanisms power’s against progressively art) is critical institutions mainstream art of the alloutside produced not art that acknowledge to is most effective ifart may ask critical institutionsexhibitedmainstream isit outside the if within art o or Also, produced them. of is effective art critical if ask may One many perspectives. from addressed It 5. of one kind. arg as I because, politically “ineffective” completely is it mean that not does in something successful changing not is arevolution fact that The limited. or small are of affairs state change that to ifits even chances stake, at are injustices and power well?” as dimension moral a revolt always possess not resistance, does not Does success. of itsby chance measured be should only relevance the of whether resistance here, risesfundamental victory.stion chance que The no successor or of islittle is a meaningless, necessarily when or not there revolution, arevolt “…resistance, convincingly argues, assertio this Scheunemann (ed.), Avant (ed.), Scheunemann

? 3.

Hubert van den Berg,, . I

Is when words, n other -art/ Political As already mentioned, t mentioned, As already ). ).

(see Maria Alina Asavei, “Functional Beauty and Handmade Political Art”, in in Art”, Political Handmade and Beauty “Functional Asavei, Alina Maria (see Hubert van den Berg den van Asisit think Hubert frequently, accurate. don’t heard I nis something

- Critical Art Most Effective 271 “On the Historiographic Distinction between Historical and Neo

This means that a revolution or a revolt has to be done when abuses of abuses when done be to has revolt a or revolution a that means This -Garde / Neo-Avant - political is http://www.artandeducation.net/paper/functional he question of effectiveness in political he effectiveness of question -Garde critical art effect art critical as activism or rather as exit or reclusiveness or exit as rather or activism as , Rodopi, Editions, Amsterdam -

190 Within an Institutional Setting or Outside of ive? ive?

ue, political effectivenessisnot just from power that within The answers are (a) when (a) are The answers ioural patterns, expectations and and expectations patterns, ioural -beauty New York, 2005, p. 66. -Avant - critical art’s case is is case art’s critical if it is produced and ifisit produced Art & Education, -and Garde”, in Dietrich Dietrich in -Garde”, - , handmade

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intervene or reflect reflect t intervene or art is not effective. Yet, as I have argued, “effectiveness” does does “effectiveness” have as I Yet, argued, is effective. art not .

272 y, through the through y,

His refusal to produce an art which respects the the which an respects produce art His to refusal 191 he bad politics of the moment). the of politics bad he

( en? If we understand political understand we If en? art might be critical precisely because because precisely be might critical art

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Lucy Lippard, “Trojan Horses: Activist Art and Power”, in Sally Everett (ed.), Art

Another crucialAnother wouldbe question wh - political However, critical critical e inconvenient art pieces both on political and aesthetic grounds, there will will there grounds, aesthetic and political on both pieces art inconvenient e rt is gentrifiedby themainstream culture andby its institutions. What at As artists. crit

ical art continues to co to continues ical art Lucy Lippard honestly it, puts

rld. Some artworlds are commercial and some are are some and commercial are rld. Some artworlds world (“preaching to the converted?”). converted?”). the to (“preaching world 192 ether it can be effective to make political work make work political to beit effective can ether

more less or fullyin developed providing - exist with the art of a globalized of aglobalized art with the exist

“we were picketing the people people the picketing were “we - politicized as soon as it is is it as soon as politicized , andCriticism Theory sidered workers as as workers sidered 273

In other other In A very A very he he CEU eTD Collection 277 276 Becker, Howard in art”. interest 275 no. 4, Bucharest, 2011, pp. 647- Political Art in Communism and its Aftermath”, in Studia Politica 274 historical data. and social, political of resource economical, an but untapped technique) norms. cultural and hierarchies Badiou . of resistance culture an alternative emphasizing carry often art’) ‘primitive today, be used seldom to seems ‘self art’, ‘naïve art’, ‘folk art’, ‘amateur ‘informal art’, art’, ‘raw brut’, ‘art less accurately) or called (more (also art ‘Outsider’ of. critical be to them wants hegemony cultural by what dictated not is attitude critical ways various marketplace” the toward autonomy and opposition of degrees “varying express to sought artists because one always aradical is not art political prominent in art. interest a professional has only which galleries art contemporary of public typical the not is public their that content least. them constrain or best them serve which magazine, art the or university museum, gallery, the p. 44. p. “The Communist Hypothesis”, New Left Hypothesis”, Review Communist “The , Badiou Alain Gregory Sholette , Dark , Matter Sholette Gregory a professional have gallery art contemporary atypical to visitors of the “70% Becker, Howard to According of Concept the on Excursus “A Theoretical my paper in developed I have argument larger of a part is This

274 277 effective most be can criticalpolitically is art that section this of conclusion The

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in terms of “a different durée in“a of different terms part of it. On the other hand, the separation between art market and critical and market art between separation the hand, other the On it. ofpart

both within theinstitutional settings and outside of them aslong as the artists’ nterested in the political effectiveness of their work would be rather wouldbe rather work their of in effectiveness political the nterested 660. , Worlds Art University of California Press, Berk :

Art and Politics in the Age of Enterprise Culture

275

re a you are while market art the criticize to is difficult It ‘Outsider’is ‘another’not art artistic genre artistic (or -

taught art’ taught to imposedto that bylaw, world” displacing the the of 193 ‘Outsider’ art operates art ‘Outsider’ 276 , ‘visionary art’ or, in an expression which which expression an in or, art’ ‘visionary

. , 49,, 2008, p. 41. Romanian Politi some political connotations connotations political some eley, Los Angeles, 1982, p. 106. p. 1982, Angeles, Los eley, , Pluto Press, London, 2011, 2011, London, Press, Pluto , cal Science Review Science cal

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ure forms” ure For instance, political artist Tania Bruguera initiated an art project called “Immigrant “Di Movement Ranciere, InternationalJaques

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The kind of aesthetic experience expected from the public is not the kind of kind of the not is public from the expected experience of aesthetic The kind Evenif political who Whom - international

m , autonomous 279 - aesthetic strategies hoping to produce an art which criticize and mocks the art of art the mocks and which criticize an produce art to hoping strategies aesthetic

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Must art appreciated in the mainstream art institutions or or institutions art inmainstream the appreciated art critical art’s main purpose is to awake the the awake is to purpose main art’s critical All these artistic , last accessed 7August 2013). senssus: On Politics and Aesthetics”, London & New York:Continuum, 2010. effective? As I have already haveAs I already beit effective? for to in order be addressed art critical

- Political critical art art critical - critical art is exhibited /performed in the public space, we still have to have to still we in space, public the is /performed art exhibited critical

aesthetic realm only. Then, the politically concerned artist usually usually artist concerned politically the Then, only. realm aesthetic .

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Paul Mattick talks about Barbara Kruger’s work which is both ac “Criticality” can take many forms (among which the highly abstract ones). As Martha As Martha ones). highly abstract the many forms which can (among take “Criticality” is apolitical actions from regular actions artistic these of indistinguishableness The ned to understand them as such. as them understand to ned , Spring, , 1993,256). p.

for those who share the artistic “vocabulary” or the “cultural code”. In other In other code”. “cultural the or “vocabulary” artistic share the who those for ts art world context” e trained to identify it as such and to consider it an anti an it consider to and such as it identify to trained e

280 f any other product frommass communication, not

195 - specialist viewer. Perhaps, in some cases, in cases, some Perhaps, viewer. specialist m

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Take the Money and Run? Can Political and Socio and Political Can Run? and Money the “Take Rosler, Martha

These decorative objects are rather cheerful and raw than sublime and elaborate elaborate and raw than sublime cheerfuland rather are objects These decorative belong to which don’t art of critical many examples are hand, there other the on Yet, However, even However, -flux.com/journal/take nd progressively.

- coration from houses.peasant’s making. The decorative artifacts I am I concer artifacts making. The decorative

if their products are not typically called ‘art’, this does not mean that mean that not does this ‘art’, called typically not are products if their -the

In some cases, the handmade decorative pieces are not just just not are pieces decorative handmade the cases, some In - money -and

art institutions, aesthetic theories or alternative art - run 196 -can

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“Art brut” is a term coined by Dubuffet Jean in the mid of which 1940s, has come to signify outsider the art l not go into this debate here. debate this into go not l

hem grotesque, kitschy or heartbreakingly touching because they are often often are they because touching heartbreakingly kitschy or hem grotesque, crafting is not revolutionary (in the sense that a wall hanging decoration will never stop stop never will decoration hanging a wall that sense the (in revolutionary not is crafting A piece of homemade decoration can be politically effective if it empowers the maker maker the ifit empowers effective be politically can decoration homemade of A piece and geometric patterns or tative vege animalistic, repeat decorations Many these of t’, politics or social justice. social or politics t’,

282

All these examples of homemade political critique illustrate how an an how illustrate critique political homemade of examples these All

Aarsman rightly suggests, what we need: “is a template model for what what for model atemplate “is need: we what suggests, rightly Aarsman ts end ts

- he wife when she is baking a turkey’; a baking is she when wife he products can bring about changes at social or personal level, level, personal or social at changes about bring can products

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But the issue I want to address here is not to decide decide to not is here address to want I issue the But irfeelings and daily concerns.

197 hand some argue that to one: different s a as ‘art brut’, perform a critical perform brut’, ‘art as

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CEU eTD Collection accessed 7August 2013) 285 buying blindly avoid consumer to goods.try to and goods own our produce to have we that suggest to meant gesture activist separated spheres: crafts and activism. For the adepts of this movement, knitting or sewing in publicwomen’s space is an rights repression and other social troubles. The term ‘craftivism’284 was coined in order t 283 with marginalizes of ‘ become become ‘ way intere H collective “outsider” publics (which exist alongside with theofficial, conventional art world). As political that is not conclusion of pieces these maker. So, the empower to stake: ideology at is There another goods. consumer buying These “innocent” ani not They are and pleasure. for” stand they what and are they who of understanding self with filled not grasping, n are who People, field. force ina different operate who people of examples and provide New Commitment in Architecture, Art and Design and Art Architecture, in Commitment New white other

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CEU eTD Collection 2013) 287 286 and of uniqueness values aesthetic traditional the confronts which categories aesthetic new his of one is reproducibility Technological mystery). value and eternal and genius”, of “creativity (those values aesthetic traditional politics) reproduction, (mechanical of art values the he considers what distinguishes Reproduction”, Benjaminhis“anti details and th on content on but formal properties the on focused anymore be not will attention spectator’s the (and objects longer no seen as aesthetic are pieces art the mechanical reproducibility of advent shift radical a Benjamin for signifies mass public by the media of technical preference “The gradual reception”: of “politics means the He (mechanical wouldcontend of that determines productions the reproduction) i the way also but intemporal) apprehending art’s pol and aesthetic spectator’s the influence is itand what art of a piece make factors These effectiveness. art’s political for important also is distributed and presented is artwork an which in medium The internet. the on avideo available or a photograph is if way piece the in adifferent and museum, 5. Art’s Effectiveness 2013. Commonplace as Art and the Question of Authenticity”, Heathwood Institute and Press, Holt Norflok, July, 5.

The European Graduate School School Graduate European The A slightly different version of this sect

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The politics of a piece of art isin thehanging piecein aif is way graspeda art a painting of a piece of The politics For instance, for Walter Benjamin, not only the context matters (both spatial and and spatial (both matters context the only not Benjamin, Walter for instance, For Importance of the Means of ofImportance the Production and Distribution e way this content is disseminated). In “The Work of Art in the Age of Mechanical Mechanical inAge of the Art of Work “The In is disseminated). content this e way 286

itical response. itical http://www.egs.edu/library/walter

ion ion I have detailed in my article “Walter Benjamin’s Legacy: the the Legacy: Benjamin’s “Walter in my article detailed I have in arts to the political” the to in arts

199 aesthetic” understanding of the aesthetic. He He aesthetic. of the understanding aesthetic” genius (what he“ calls (what genius n which art is produced and disseminated. is and disseminated. art produced n which -benjamin/biography/ . 287

This is so because with the the with because is so This aura”). for Political

(last accessed 27 May 27 accessed (last - Critical from from CEU eTD Collection Significance 289 288 andis The surgeon. by painter considered Benja magician between and and cameraman between painter comparison double the he discusses significant” more “incomparably represent the that fact, in claims, Benjamin which in evidence textual aura”. “the of the decay calls Benjamin of what beginning the substitute the tyranny“to ask of for the unique: t would of copies a plurality why That’s rule. authoritarian an establishes authenticity) its (or an of object existence unique original. The the celebrate aesthetically to then original authenticity” of concept of the “prerequisite is the original the of presence the out, As pointed Benjamin pa !” painting “ imperative the understand could we meaning, literal the is. Besides its is painting the of g!” paintin “ written mastersis history usually art of the great of original paintings the beneath) (or on museums, in Moreover, ones. in temporal also but terms spatial in only not be understood has to him/her distance This between and painting. authoritarian distance vanished. is painting and n him betwee distance any mean that not does e way: following unique Jennings,

inting rests in the fact that it transports the viewer into a distant and unfamiliar province. province. and unfamiliar adistant into viewer the it transports that fact in the inting rests Art and its its and “Art in Reproducibility”, Technical of its Age in The of Art Work “The Benjamin, Walter Reproducibility Technological of its Age in the of Art Work W „The Benjamin,

phenomenon of distance however close it may be” may it close however distance of phenomenon describes a describes he what it with equates explicitly quite Benjamin “aura”? is What Photography and film are privileged mediums for Benjamin. There is a piece of is of apiece Benjamin. There for mediums film privileged are and Photography Michael Michael ”, Stephen David Ross State (ed.), University of New York Press, 1994, p. 526.

as another imperative - imperative another as This “ This . 289

(Ed.) ven if a viewer in a museum is relatively close close is relatively museum in a viewer if a ven Anyway, for him it is more important to make many r don’t touc don’t

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“ don’t try to make it approachable!” it make to try don’t 200 itings min a sort of Magician because he “cures” the “cures”he the because of Magician min asort he “authentic” print makes no sense”. This is is This sense”. no makes print he “authentic” , Belknap Press: Mass., 2002 Mass., Press: Belknap . 288

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The cult value of that that of value cult The eproductions the of , p.255.

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CEU eTD Collection 290 and approachable more manageable, more makes art reproduction meansmechanical ofby the I this replacement Yet, that think everyone). is to accessible value” (art “the exhibition with art” value of “the cult replace tried He to effective. wouldbecome politically art way in this will reproduction mechanical art. andcult of tradition as creator the ideas artist the genius, the of against Benjamin rejectunderstand why can we formation of that to art and creation of sphere the to belongs life Since a builder. isa artist an of presence him the totally to “auratic” Benjamin seems longer and one. a unique isno object art the isbecause vanished habit(contemplative) This perceptual obedience. and attitude in acontemplative disguised longer no is public of the apparatus receptive subject the of terms in (both anonymous the of promotion asort of to assist we reproduction mechanical of advent with the hand, On other the changed. law”. anew under assembled which are fragments multiple of consists cameraman of the while that atotalis of apainter That they obtain. pictures the between difference atremendous is of reality which is achieved by cameraman but it is not achieved by painter. He claims: “there reality). i penetrates surgeon like the e cameraman th hand, other the On reality. and himself between adistance maintains likemagician a painter the because especially of authority asign sees Benjamin practice Inhands”. this laying of on “by the person sick

Idem 290 , p. 534 p., But let’s go back now to the question of effectiveness. Benjamin has hoped that the the hoped that has Benjamin of question effectiveness. the back to let’s now go But is of reception context the hand, one the On art? law of new in this is changed What ameticulous penetration ask fromof awork art is to entitled one that thinks Benjamin

This “new law” suggests that art ceased to be art as be it art ceased to was knew art that law”This“new suggests .

bring into being a critically and politically engaged viewer and viewer and engaged beingand ainto politically criticallybring The artist is never a creator but but creator neveris a artist sign authorship/authority. The of s the idea of “the artist as creator”. His anger is directed directed is His anger as creator”. artist “the idea of s the 201

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CEU eTD Collection 53. p. 2004, Spring 1, No. 291 kno enterprise capitalist the of “celebrities” other could support the rise of Hollywood political of goal the not is which amerely propagand to veryis close result the version second status In the quo. the of hands the in tool a as function could production of means same the hand, other the r aesthetic in factor post the important beit an could hand on one the sword: edged a double is distributed and produced is piece art an in which way The technological in power. of those dominantinstitutions; otherwise story. whole the not is b response”, “political or “political” some extent to called be could which appreciation meansYet, the nevertheless, of support production enterprise”. capitalist the to suited perfectly originality of aura new and a star of “cult the to rise gave production of means these contrary, the on that, noticing is worth It status quo). production trigger the politics least(at reception of not too the politics opposit of means whether amsure these I but not reproduction mechanical of bymeans the distributed l no we relevant, non these accept we Once production. of context cultural and social its of appreciation from the separated be radically cannot appreciation art’s that obviou mechanical reproduction of Whatadvent the agent. aware socially and politically a into viewer the turn necessarily not does it but masses the for visible more

South Central Review Central South in Schnapp”, T. Jeffrey to A Response of Form: Politics “The Eide, Marian The exhibition value of political art is clearly more easily and democratically democratically and easily more is clearly art political of value The exhibition eception (through the politicization of both production and reception of art) but, on on but, art) of reception and production both of politicization the (through eception onger value “auratic” art art only. “auratic” value onger

This politics ought to be to counter ought politics This

art will be just swallowed up by the technological apparatus apparatus technological by the up swallowed just willbe art - critical art. By the means of mechanical reproduction art art reproduction mechanical of means the By art. critical - type stars, political V.I.P stars, type 202

wn as “cultureindustry”.wn Nobody deny as can

an anti an - hegemonic to the interests of the of the interests the to hegemonic - perceptual factors as artistically as artistically factors perceptual ’s , corporatist leaders and many many leaders and corporatist , - auratic

slyis prove does to mode of aesthetic mode of aesthetic istic function function istic ional to the the to ional , Vol. 21, - auratic auratic ut this this ut 291

CEU eTD Collection 294 293 (eds.), 292 action the dictates and directs isthe who one not artist the in which collaboration of type intersubjective is an piece collaborative A genuinely piece. collaborative as agenuinely produced cha economically minorities, ethnic (workers, represented are who those and artist the between relationship of type as the itsof production ownership hierarchy of and dissemination, product, cultural of modes meaning tics to articulating of as tac relationship content form and from organization: mode of its entire of interrogation entails an art critical media. Producing art mainstream the using without visible them make to hope still activists and artists Political distribution. independent “ “ publications (like zines still are There quo. status cultural or economic political, industry of culture institution(s) of the prisoners as are employee(s) producers) cultural o object an power). that of channels the gh andpower throu distributed it cannotsociety, just be apparatusof part the power within (being institutions produced the of art the of dimension autonomo require critical, and become political works art some which by Forms, it says. what it disseminates how subjugating theindividual to the control of capital” for structure institutional be “an to it proves media which industry a culture of existence the 2011, p. 198.

A zine is an original, a small a original, an is zine A Idem, p.194. Wuggenig Ulf & Ray Gene Raunig, Gerald in Deception”, Mass as Industries “Creative Raunig, Gerald Critique of Critique the by the swallowed be to in danger are distribution and production of means all not Still, be can piece communicates art the only what Not

and the message of those who perform. The others (the public) have to be involved involved be to have public) (the others The perform. who those of message the and

f consumption as any other consumer good. It seems that political artists (as (as artists political seems that It good. consumer other any as f consumption

Aesthetic Journal”) which sustain an autonomously critical art pr art critical autonomously an sustain which Journal”) Aesthetic

Creativity The Independent Media Center of Philadelphia” Center Media Independent The

piece autonomy. is depend th of , Precarity, Subjectivity and Resistance in the Creative Industries us and distribution. production circulation, self -circulation, llenged people). Critical art acts politically mostly when it is is it when mostly politically acts art Critical people). llenged

-published newsletters. 203

(Raunig, 2011).

Inasmuch as art can have a critical role in in role acritical have can as art Inasmuch

Both the political and the aesthetic aesthetic the and political the Both

political but also how it says and and says it how also but political Then, human misery will become become will misery human Then, 292

294 which used to edit an editan to which used

or independent art art independent or , MayFlay Books, Books, MayFlay , labour oduction and

. as well 293

CEU eTD Collection 297 (originally published Austriain by + Turia Kant, 2005). TheorySociety and 296 Movements”, and Coalitions “Organizations, Bison, associations, engaged in a political or cultural conflict, on the basis of ashared collective identity” (Diani and 295 Hence, grounds). any separableon not they are that (or same the and one are action and political practice artistic mean that not this does but hegemony to resistance and insurrection terms of A apiece. of politics the deemphasize not do merit and identity. artistic about considerations ten example). an just is it art?” is “But book Freeland’s (Cynthia decades two last in the often quite addressed been has question art?” really “Is this “ideological”. change?” Raunig: 5. institutions. own is art of piece final if the the people means technological to producers bybringing art in(passive consumers) transform want to enoughto it not is Yet, message. “political” artist’s communicate ina dialog, giving themvoice a of own and speaking not their for using them or them to 6.

Cynthia Freeland, But IsIt Art? Freeland, AnIntroduction Cynthia to ArtTheory , Gerald Raunig, ‘Art and Revolution: Transversal Activism the Long Twentieth Century’, Semiotex(e), A social movement is “a network of informal interaction dency to appreciate critical art exclusively on political grounds on exclusively critical art appreciate dency to

Social Movements and Critical For dec For Gerald by philosopher addressed questions answer two to attempts This section my ( , and , 1) “Is there any overlapping between political between overlapping any “Is there 1)

claim is that political that is claim

( 2) “How can art promote and animate revolutionary contents?” revolutionary and animate promote can “How art 2) ades, political art was label as “unappealing”, “didactic”, “boring” or “boring” or “didactic”, “unappealing”, was label as art ades, political ed

and distributed through certain channels of the hegemonic hegemonic the certainof channels through and distributed - critical art canbeart effectivecritical qua

- However, certain concerns regarding the artistic identity identity artistic the regarding concerns certain However, Political Art Political 204

s between a plurality of individuals, groups or or groups individuals, of plurality a between s 295

rt can have a revol a have can rt Oxford University Press, 2001 Oxford UniversityPress, - critical art and social and political political and social and art critical , 3, 2004, pp. 281-309. art and sometimes it can can it sometimes and art utionary potential in in potential utionary , disregarding , any 297

There is also a also is There 296

spectators spectators

2007 2007 CEU eTD Collection Bruxelles,2007, pp.59 -68. http://www.sensesofcinema.com/2001/13/carroll/ 300 Van Es Eric in responsabilite” 299 298 production, reception andany distribution.way, In political this despotic could decree regime of art confinements bureaucratic just the are understanding) Dickie’s inGeorge world” “art from a art demarcating for theory appropriate positions: the “institutional” and the philosophical important two least at disposal our at have we life from art delimitates political are clearly that situations art of those out force itthe takes because as political see all art to pernicious isit politically Thus, thesis. in this emphasizing politics I’m express antagonistic pieces the simply don’t art sense. Some confrontat robust, more its in is political art all not but medium, in a communicated are which ideas of exploration imaginative an as “politics” if understand we “political” interpreta is “everything that claiming as ineffectual as is articulation, further without artist” an is “everyone and art” is “everything claim that To art. are that things of the out force the takes at discussed are sterile are formula these non from is“everyone an artist” is political “everything paradigm t chapter, first in the mentioned already have As I art potential of art in art itself” qua potential revolutionary a have

. This question is unavoidable for the kind of argument I intend to put forth in this study. forth put intendinstudy. this I to This argument foris theof . kind unavoidable question See Noël Carroll interviewwith Ray Privett and James Kreul in a la de l’engagement politique: l’artiste de mythologie la avec finir en “Pour Gucht, Der Van Daniel Dimension Aesthetic The Marcuse, Herbert This raises the question of what the boundaries are through which something becomes becomes something which through are boundaries the what of question the raises This - tion” or “all art is political”. Nevertheless, all art is in a very general sense sense in is very alla general art Nevertheless, is “allart political”. tion” or art, otherwise we end up with sterile formula like “anything is art” (the reasons why why reasons (the is art” “anything like formula sterile with up end we otherwise art,

. 299 sche (ed.) sche

298 Yet, there should be some limits delimitating art from life and art life art from and art limits delimitating some be should there Yet,

Les For Les /

art. As Herbert Marcuse would say “I see the political political the see “I say would Marcuse As Herbert art. everything is art” everything , Beacon Press, 1979. Press, Beacon , “ mes Contemporaines d’Art Engage

aesthetic (last accessed 30 October 2011). October 30 accessed (last large in the first chapter). To regard anything as art art as anything regard To chapter). first the in large 205 nything else because “the art institutions” (or the the (or institutions” “the art because else nything ” he 20 he . 300

theory of art. The first one is not an an not is one first The of art. theory

th th – Senses of Cinema

oing back to the question of what what of the question backoing to

century developed the new relativist new relativist the developed century element added by Beuys, added by element Beuys, the with

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CEU eTD Collection 301 philosophical position comesoffer to an in A recent and thing). same as one the viewed are action political and production which art neo the and life peculiar its own has which in art and art between relationship the highlight clearly firstly should we potential, revolutionary a have idea The art. become can event or every of thing not kind idea that the spell out to significant is It also inseparable. are life and art mean that not does this art), conceptual (i.e. pieces art became could a proli witness we art in contemporary if, Even else. from whatever art in delimitating help don’t aesthetics of understandings other mean that them. institutions)meaningin influences changed their curre a way that our art (hegemonic in power by those use their us because for connote terms these what say is to impossible It “aesthetic autonomy”. or pleasure” “disinterested “genius”, “quality”, the component, sensualistic strong this Beside senses. five the of means by the perceivable features understanding of of art. theory aesthetic the to really alternative an not is Institutionalism and art is what arts +society arts sur of acts art, performances, are in working construction or meal, shopping, a preparing their“art” daily “For on this activities me,like all ground: dailytasks, clothes, washing

Ion Grigorescu, ‘A Version of Memory (January 2007)’, tr vival” life

However, the fact that the established aesthetic theory of art is not workable does not not workable does not is art of theory aesthetic established the fact that the However, narrow modernist and traditional the in art, of theory aesthetic the hand, other the On rratives: the formalist credo credo formalist the na grand rratives: two least has at relationship This controversial . . 301 ,

25, Cluj, 2006, p. 40. Yet, if we want to make sense to what extent critical art can be effective and can can and be can effective extentcritical art what make to if to sense Yet, want we favourite

it, confines the status of art just to productions justthose to of whichit, aesthetic exhibit confines art the status power. of institutions art its of basis the on just else whatever is what that art is life has been the core of the avant of the core been the has is life art that

concepts of traditionalist and conservative aesthetics are term are aesthetics and conservative of traditionalist concepts

- between 206 feration of so many objects and situations that that situations and many objects so of feration anslated

- solution. avant -

garde blending of art with life (in life (in with garde blending art of Moldovan, Moldovan, by Alex English into

- garde. Many artists call call Many artists garde.

nt apprehendingnt of IDEA IDEA s like: like: s

CEU eTD Collection 304 (ed.), “ 303 302 . ofmeans art” space, achie striates and segments territorializes, differences, it deletes Instead circumstances. production change to seeking concatenations organizational nor singularities, of assemblages engender not does art and masses “This kin art: of means by masses the the integrate to attempted totalitarianism in which way of the account adetailed Raunig offers art. using masses politics of (aesthetization some habitual troubles. revolutionin parts still which the two from open remain up sides, both effectively indist in out turning without of time, alimitedfor period which overlap Raunig, for activities linked become practice art and action Political same. the and one are action political and practice artistic revolutionaryininsur terms potentialof achieve specific power not goals andto over power to to hethat refers suppose (I power” constituent and resistance mean an to comes it rather but apparatus’ state the over ‘oneis“revolution” Raunig,dimensionalnot endeavour For and understood theorized. is “revolution” of concept the which in ways different are There two. the of blending does which and revolution art activist critical of overlap temporary “ of concept the proposes (originally published Austriain by + Turia Kant, 2005). (originally published Austriain by + Turia Kant, 2005).

Gerald Raunig, “ Raunig, Gerald Reproducibility” Technical of its Age in The of Art Work “The Benjamin, Walter “ Raunig, Gerald Art and its Significance Contrary to models of wholly confusing art and life, the philosopher Gerald Raunig Raunig andlife, philosopher Gerald models art the confusing wholly Contrary of to Firstly, it circumvents the confusion with both Nazi’s aesthetical aesthetical Nazi’s both with confusion the circumvents it Firstly, 304 Art and Revolution: Transversal Activism the Long Twentieth Century Art and Revolution: Transversal Activism the Long Twentieth C

Walter Benjamin and Richard Wagner (among others) have signalled others) Wagner (among Richard and Benjamin Walter temporal temporal This entities. inguishable

” ) ,

303 State University of New York Pre of University New York State concatenation of art andrevolutionconcatenation” of

and Communist endeavours Communist and rection and resistance but this does not mean that mean that not does but this resistance and rection 207

, in the sense of domination). Art can have a cana have Art in sense of the domination). ,

ving a uniformity of the masses through the masses the through the ving of uniformity a ss, 1994. and and

to integrate and homogenize the and the homogenize integrate to limited

d of integrative conjunction of of conjunction integrative ofd interconnected “insurrection, “insurrection, interconnected . 302

concatenation of art and and art of concatenation

entury ,

in Stephen David Ross David Stephen in A affect outcomes or to to or outcomes affect not count as a total as atotal count not concatenation ” ” mass organization mass organization , ,

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the the CEU eTD Collection 7August 2013) accessed 3August 2013). this autonomy(asfragile as itis). pr art the when cases the in Even autonomous. partly still it is life” “real for abandoned is art when Even one). relative “ autonomous an as treated 307 306 305 just not is politics and politics of instrument an just not is Art synthesis. total a being without ar between - re proposal concatenation Raunig’s grounds. aesthetic purely on from politics art of separation the as pernicious me as seems to artworks activist successfu if fulfils not it or other. annihilate the or woulddeemphasize one “ between The relation art. of theories aesthetic byestablished imposed cannons rigid conventional and - re to if attempt we bewrong completely cannot we separateness, its relative losing field demarcatio absolute about re autonomy ofboth of thembut it also allow them work to soundly together, opens the road for w and revolution, art between overlapping temporary The concerned. is that politically art and art autotelic between dichotomy aesthetics’ as it by is art persecuted mainstream the revolution” and andlife. art risks totalizing of homogenization of masses by the means ofbymeans art. masses of the homogenization consideringlifetemporal and without sequence, indistinguishable, the would art prevent wars. wars. - Gerald Raunig, Introduction: The Concatenation of Art and Revolution. In art’s case “autonomy” is just a relative autonomy. Excepting the case of formalist art wher art of formalist case the Excepting autonomy. a relative just is “autonomy” case art’s In aesthetic politics to render efforts all the that believed Benjamin instance, For considering the traditional aesthetic categories and canons categories aesthetic traditional the considering oduction as part of culture industry has only a relative autonomy, there is still something to be done about Source: For some contemporary art theorists it does not even matter if activist, critical art is art is art art critical if even activist, matter not it does theorists art some contemporary For and revolut art of concatenation momentarily the Secondly, art” and “revolution” is not a slippery one and there is no need to be concerned that be that concerned needno is to there aslippery and one not is and “revolution” art”

t and politics. In this understanding art and and soundly Int politicsart politics. this understanding operate together http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm

306

(as murky, f

life of forms", any other case art is art as something else (so the autonomy is just a just is autonomy the (so else something as art is art case other any forms", of life

lly its critical purpose. The neglect of the artistic dimension of of dimension artistic of the The neglect purpose. critical llyits 305

ragile, negative or fragmentary they may appear) for a limited a for may appear) they fragmentary or negative ragile,

ns and art can overlap with politics and revolution without without and revolution can politics with overlap ns and art Nevertheless, “transitions, overlaps and concatenations of art art of concatenations and overlaps “transitions, Nevertheless, 208 -

world, effectively overcomes the traditional traditional the overcomes effectively world,

hich in a certain way still preserves the the preserves still way certain a in hich conceptualizes the relationship relationship the conceptualizes http://semiotexte.com/?p=127 . 307

ally culminate in tragedy and and tragedy in culminate ally Since we no longer speak longer speak no Since we ion in political in ion

(last accessed accessed (last lf be be lf itse can e art - critical art, art, critical tool the the tool

(last CEU eTD Collection 309 308 of energy creative the making through that than more did also it but beauty, with and wit with . moment” the appeal of aesthetic the construct collectively “to logos and posters street globally designed Artists ad an organized Comment” gr Another 99%”. ofvalues, histories the needs, and art institutions thecultural with museums and galleries, art reoccupy our seeks to that movement within OWS action group an is Museums “Occupy follows: as themselves describe They desirable. and successful is art what dictating interests economic and corporate MOMA against at demonstrated known as “Occupy Museums” group A commodification. and corporatization art’s theatre c posters, logos (thefam percent 99 other the to compared income earners 1% of top the among wealth of concentration the to referring 99%”, the are Citin NewZuccotti2011 York Park, September 17 on started (it wide coverage receive to movement occupy first the OWS was inequality. against economic protest international of is the part movement This social (OWS). crit of significance follows the in what discuss will I contents”), revolutionary animating and promoting “art (Raunig’s effectively overlap contents and animate promote can effectively art importantly, more and, content art’s (last accessed 7August 2013). rafts, graffiti, poetry readings, film, music, collages, carnivalesque performances, guerrilla guerrilla performances, carnivalesque collages, music, film, readings, poetry graffiti, rafts,

The significance of Art in Occupy Movement: http://vimeo.com/39412878. Wall Street Protests Spread, CBS News source: ,

and so on. so and OWS wasnot just alocal protest movementin which art playedits important role. direct protests of a series also been has there actions artistic these Besides movements and social art in which way of the example and recent aconcrete take To qua art.

309 ous 99% logo and many others), e others), many andlogo 99% ous

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my argument on some neglected aspects from Kant’s theory of art (namely, “dependent “dependent (namely, of art theory fromKant’s aspects neglected someon my argument se beauty is not only that which is pleasant at sight at pleasant is which that only not is beauty se wa Unlike the co the Unlike Chapter 4 Chapter s not “useless” and “merely pleasant to look atlook to pleasant “merely “useless” and not s

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and purposes - critical art could art critical , such as . Our interests in apprehending critical inapprehending interests Our . 217 gued that beauty should not be restricted to a to benot restricted beauty should gued that

social justice, compassion, rightness, care, care, rightness, compassion, justice, social

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litical messages but in how those how in but messages litical I offered a detailed account of collectivist art of collectivist account adetailed offered I The emergence of collective art practice prompted new ways of thinking and and of thinking new ways prompted practice art collective of The emergence of understanding rich sufficiently a of dimensions other many nevertheless, are, There it means for explain to what attempted dissertation of this chapter last The . 315 dissertation dissertation this in approached been not have ich

Collectivism signifies the politically the signifies Collectivism

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ive. ive. simplicity and whatever else aestheticians have pointed out over the the out over pointed have aestheticians else whatever and simplicity it could it The The

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whichfor a overlap limited of period time,turning without out litical

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York: Oxford University Press, ( Oxford Press, University York: messages are transmitted. transmitted. are messages

production in myforthcoming article “Collectivism”, in Michael bject and aesthetic experience. bject and he significance of its production and the aesthetics aesthetics andits the production of he significance 218

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In Grant Kester, Conversation Kester, Pieces. Community Grant In and Communicability in Modern Art who experiences ar experiences who subject” “aesthetic an of more What Kester conceives as the “dialogical” model o “dialogical” the as conceives Kester What art collectivist Contemporary

needs a particular theory of aesthetic communication and engagement, which differs which differs engagement, and communication aesthetic of theory particular a needs

judgment and in the practical sense (the ulterior purpose of the object) of the purpose ulterior sense (the in and practical judgment the lit erally engages the spectators. spectators. the engages erally , as many, argued have 316

- specific communities. This collaboration becomes part of the work’s work’s the of part becomes collaboration This communities. specific

nt aesthetic experience of the singular beholders (what Grant Kester Kester Grant (what beholders singular the of experience aesthetic nt

which takes place on dialogical grounds, we cannot speak speak cannot we grounds, dialogical on place which takes

(for Kester, the subject has only a “partially determined determined “partially has a only subject the Kester, (for ; (2 ,

nterparts by emphasizing collective engagement rather rather engagement by collective emphasizing nterparts with its focus on community ) interestedness both in the existence (or reality) of the the of reality) (or existence the in both interestedness ) .

219 All these developments in modern and and modern in developments these All t in at de

aware of his/her political his/her of aware - f aesthetic experience entails: experience f aesthetic constituted by interaction and and interaction by constituted - contextualized manner contextualized - based socially engaged engaged socially based

“dialogical” model of of model “dialogical” , Berkeley: Univer Berkeley: , - ; economic economic

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shoes) and and shoes) al respect respect al CEU eTD Collection , Peter , BENSON BENJAMIN BATEMAN Alain BADIOU, An Ethics: Essay the of Understanding of Evil Alain. , BADIOU ASAVEI Alina Maria ASAVEI, Alin Maria ASAVEI, Alina Maria ASAVEI, ASAVEI ARETOULAKIS ADORNO, Theodor. ADORNO, AARSMAN, Hans. “ , Howard. , BECKER New York Press, 1994,pp Press, New York N Stephen David Ross everything http://onlyagame.typepad.com/only_a_game/2010/05/the London: 2001. Verso, Aesthetics authenticity/ http://www.heathwoodpress.com/walter Authenticity of Question beauty Vol Communism http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=510 Aesthetics Frankfurt School Reader Hans in y http://www.philosophynow.org/issue44/On_Beauty_and_Being_Just_by_Elaine_Scarr withGrigorescu. TheMan 2013 Press, aSingleCamera Berlin: Sternberg , . , Maria Alina Maria , in Art of Political Concept the on Excursus “A Maria Alina. , Theoretical o

Aaron Betsky (ed.), New (ed.), Architecture, Commitment, in Betsky Aaron andDesign Art , New York: . . 4 (2011): 647- 4 (2011):

Theodor. Theodor. , Chris. The Activist’s Argument (Everything is Political) 10, No. 10, , inits Art Technical of “TheThe Reproducibility” Work Age of Walter. , NAI Publishers, (2004): 27 NAI (2004): Publishers, - and . .

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“Aesthetics of Resistance and Persistence”, in Alina Serban (ed.), in (ed.), Alina Serban Persistence”, and of Resistance “Aesthetics Walter Benjamin’s Legacy: the Commonplace as Art and the as Art Commonplace the Legacy: Benjamin’s “Walter “Collectivism” (forthcoming), in Michael Kelly (ed.), (ed.), Kelly in Michael (forthcoming), “Collectivism” “ , Art” Political Handmade and Beauty Functional 660.

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