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Relevant bibliographies by topics / Art, Autonomy and Modernity

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Academic literature on the topic 'Art, Autonomy and Modernity'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Art, Autonomy and Modernity"

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Rajan, Roby. "Art, Economy, and the Differentiation of Value." Alternatives: Global, Local, Political 21, no. 4 (1996): 419–37. http://dx.doi.org/10.1177/030437549602100402.

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The question of value comes to the fore in early modernity with the delineation of the distinct discursive fields of economics, ethics, and aesthetics, and their respective development into the self-sufficient practical forms of economic rationality, private morality, and modern art. Lying as it does at the intersection of the modern subject's internal world of needs and desires and the external world of the sources of their gratification or deferral, value begins to assume a considerable importance. Although the three realms of value co-emerge as differentiated with the inauguration of modern

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Lütticken, Sven. "Autonomy as Aesthetic Practice." Theory, Culture & Society 31, no. 7-8 (2014): 81–95. http://dx.doi.org/10.1177/0263276413496853.

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This essay examines various conceptions of autonomy in relation to recent artistic practices. Starting from the apparent opposition between modernist notions of the autonomy of art and theorizations of political autonomy, the text problematizes the notion of the autonomy of art by using Jacques Rancière’s notion of the aesthetic regime. Focusing on the importance of the act and performance in the art of the last decades, it is argued that while political and artistic autonomy may never quite converge, aesthetic acts can under certain circumstances function in both the political and the artisti

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Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time." Ars & Humanitas 9, no. 2 (2015): 215–30. http://dx.doi.org/10.4312/ah.9.2.215-230.

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The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”

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Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time." Ars & Humanitas 9, no. 2 (2015): 215–30. http://dx.doi.org/10.4312/ars.9.2.215-230.

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The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”

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Roberts, John. "After Adorno: Art, Autonomy, and Critique." Historical Materialism 7, no. 1 (2000): 221–39. http://dx.doi.org/10.1163/156920600794750829.

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AbstractIn conversation with two artist friends recently, both declared that Adorno was a far more serious and productive guide to their practices than any other philosopher or aesthetician. Given their work and histories as artists – one had lived through the period of conceptual art and had been won over briefly to its arguments, the other had emerged out of its ruins — this was a surprise. Like many artists in the late 1970s and early 1980s, both had fallen under the sway of Walter Benjamin, and were convinced, in their respective ways, that the dissolution of the category of Art into the f

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Łukasiewicz, Krzysztof. "Coś więcej niż filozofia sztuki. Wokół Simmlowskich rozważań o Michale Aniele." Prace Kulturoznawcze 21, no. 4 (2018): 43–68. http://dx.doi.org/10.19195/0860-6668.21.4.3.

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More than philosophy of art. Simmel on MichelangeloGeorg Simmel’s interest in Michelangelo’s art is present in all stages of his academic carrier. He published only two works exclusively on this artist but his name frequently appears through Simmel’s lifework. In 1899 he published a short article on Buonarroti’s poetry and in 1910 a longer piece appeared where Simmel interpreted his artistic achievement as a philosopher of culture. A year later Simmel published The Concept and Tragedy of Culture where his earlier remarks on Michelangelo are included in the context of art’s autonomy and the rel

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Buttes, Stephen. "The Failure of Consuelo’s Designs: Carlos Fuentes and Trompe l’Oeil Modernity." Revista Canadiense de Estudios Hispánicos 41, no. 2 (2017): 297–324. http://dx.doi.org/10.18192/rceh.v41i2.2148.

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Este artículo estudia las tensiones entre los elementos barrocos y los elementos góticos en Aura (1962) de Carlos Fuentes. Estableciendo conexiones entre esta novela y La región más transparente (1958), el ensayo argumenta que en Aura Fuentes radicaliza la teatralidad de las formas barrocas y las góticas para señalar sus límites. Con el uso de la segunda persona singular, la novela desarrolla un concepto de modernidad que no se subordina a los modelos políticos existentes, un modelo parecido al arte anti-teatral en su variante pastoral estudiado por Michael Fried. Palabras clave: Carlos Fuente

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Mance, Ivana. "Towards the Theory of the Naïve Art – Grgo Gamulin and the Understanding of Modernism." Artium Quaestiones, no. 30 (December 20, 2019): 191–209. http://dx.doi.org/10.14746/aq.2019.30.9.

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The article presents the theory of naïve art of the Croatian art historian Grgo Gamulin (1910–1997), which he developed in a number of texts written from early 1960s. In his theory, Gamulin tried to explain the phenomenon of naïve art on the basis of the modernist paradigm by applying the type of argumentation that is characteristic for the discourse of high-modernity. Gamulin’s postulates on the naïve can be summarised with a few basic lines of speculation. First of all, Gamulin claims that the phenomenon of the naïve was epistemologically possible only in the context of modernism, and that i

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Zepke, Stephen. "Art as Abstract Machine: Guattari's Modernist Aesthetics." Deleuze Studies 6, no. 2 (2012): 224–39. http://dx.doi.org/10.3366/dls.2012.0059.

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Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal

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Roberts, John. "Art After Deskilling." Historical Materialism 18, no. 2 (2010): 77–96. http://dx.doi.org/10.1163/156920610x512444.

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The absence of would-be palpable skills in contemporary and modern art has become a commonplace of both conservative and radical art-criticism. Indeed, these criticisms have tended to define where the critic stands in relation to the critique of authorship and the limits of ‘expression’ at the centre of the modernist experience. In this article, I am less interested in why these criticisms take the form they do – this is a matter for ideology-critique and the sociology of criticism and audiences – than in the analysis of the radical transformation of conceptions in artistic skill and craft in

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Dissertations / Theses on the topic "Art, Autonomy and Modernity"

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Aydin, Ceren Can. "&#039." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615704/index.pdf.

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This thesis critically analyzes the dynamics wherein the artistic field- the art world per se possessing both &#039<br>glocal&#039<br>and &#039<br>universal&#039<br>attributes- has been constructed as an autonomous field within the discourses produced about art. The research focuses on some of the moments during which the field, as becoming an &#039<br>institution&#039<br>inside the framework of modern state paradigm, has been imbricated and freed from social history by designating some of the fundamental arguments about its epistemological, historical and structural qualities and it shows ho

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Romanos, Vassilios. "Modernity and autonomy : Cornelius Castoriadis' defence of democracy." Thesis, University of Essex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243395.

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Hawa, Salam. "Autonomy and alienation, elements in the crisis of modernity." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5427.

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Sharp, Neil. "Modernity, art and art education in Britain, 1870-1940." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285129.

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Rosich, Pagès Gerard. "Autonomy In and Between Polities: A Political Philosophy of Modernity." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/399926.

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This PhD has pursued three different and interconnected objectives, each corresponding to one of the three parts of the PhD. In Part I, a historical reconstruction is provided in order to present the background against which some political paradoxes in the present have to be understood in relation to globalization. On the one hand, it presents a range of historical developments that have helped to describe some lineaments of the modern world as a history of domination that underpins the univocal and reductionist conceptual association between modernity and globalization. A connection is establ

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Rinaldi, Juan. "Art and geopolitics : politics and autonomy in Argentine contemporary art." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/26287/.

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This thesis critically analyses the implications of a now global capitalist modernity for Theodor W. Adorno's theory of art. The thesis takes as its starting point the sociological presuppositions at play in his social theory and problematises the spatial and historical dimensions in which they are embedded. The analysis of the process of homogenisation of social relations that Adorno presents as a constitutive feature of societies during monopoly capitalism brings to the fore the centrality of the state as administrator. This thesis claims that there is a spatial contradiction in Adorno's def

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Braddock, Alan C. "Displacing Orientalism Thomas Eakins and ethnographic modernity /." [S.l. : s.n.], 2002. http://catalog.hathitrust.org/api/volumes/oclc/53916454.html.

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Thesis (Ph. D.)--University of Delaware, 2002.<br>Principal faculty advisor: Michael Leja, Dept. of Art History. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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COUTO, RENATA DE CAMPOS. "GONZAGA DUQUE: CRITICS ART AND THE EXPERIENCE OF MODERNITY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11401@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>A presente dissertação propõe analisar a atuação de Gonzaga Duque como crítico de arte. Este trabalho reconstrói o percurso das influências estéticas que compuseram o universo teórico de referência para a atuação de Gonzaga Duque como crítico de arte. Esse estudo aborda com maior ênfase o engajamento simbolista do autor, mas igualmente compõe um quadro de diferentes fontes e experiências críticas citando artistas e críticos contemporâneos de seu período, como por exemplo, Baudelaire, Zola e Ruskin. Este estudo indica que Gonzaga Duqu

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Pigott, Jon. "Materials systems and autonomy in electromechanical sound art." Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/11587/.

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Sound art is a difficult to categorise and broad genre description that draws together modes of creative practice which use sound as a medium or a subject. The field is considered to be critically underrepresented and under-theorised despite an increase of attention and popularity since the 1990s (Licht 2007, 2001, Cox 2009). This is partly as a consequence of an analytical and historical emphasis on textual and conceptual approaches which dominated the arts through the 1970s and 1980s (Cox 2011, 2013). In particular, acknowledgement of the influence of object-based and kinetic sculpture withi

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Guentchev, Daniel. "The Speech of the World: Art and Normativity in Modernity." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/465.

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This dissertation explores the significance of figurative art for contemporary cultural life. It is motivated by the fact that such art is often regarded as a thing of the past and largely replaced by works born of more recent movements. I argue that figurative art bears possibilities that are not yet exhausted, and moreover that there is something about our age that calls for the creation of figurative works. The first part addresses a diagnosis of modernity offered by Gregg Horowitz. For him, the triumphant attitude of the age hides our inability to digest a series of traumatic losses - the

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Books on the topic "Art, Autonomy and Modernity"

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Freedom and modernity. State University of New York Press, 1991.

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Totalitarian art and modernity. Aarhus University Press, 2010.

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Pattison, George. Art, Modernity and Faith. Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21461-7.

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Musée royal de l'Afrique centrale, ed. Fetish modernity. Royal Museum for Central Africa, 2011.

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German expressionism: Primitivism and modernity. Yale University Press, 1991.

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The five paradoxes of modernity. Columbia University Press, 1994.

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Black visual culture: Modernity and postmodernity. I.B. Tauris, 2000.

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Art, power, and modernity: English art institutions, 1750-1950. Leicester University Press, 2000.

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Pattison, George. Art, modernity and faith: Towards a theology of art. 2nd ed. SCM Press, 1991.

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Art, modernity, and faith: Towards a theology of art. St. Martin's Press, 1991.

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Book chapters on the topic "Art, Autonomy and Modernity"

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Biale, David. "4 Autonomy and Modernity." In Law, Politics, and Morality in Judaism, edited by Michael Walzer. Princeton University Press, 2009. http://dx.doi.org/10.1515/9781400827206.50.

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Lütticken, Sven. "Autonomy." In Keywords for Marxist Art History Today. V&R unipress, 2020. http://dx.doi.org/10.14220/9783737011143.29.

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Taheri, Alireza. "Thrownness and autonomy." In Hegelian-Lacanian Variations on Late Modernity. Routledge, 2020. http://dx.doi.org/10.4324/9781003057390-18.

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Newall, Diana, and Grant Pooke. "Formalism, modernism and modernity." In Art History, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9781315727851-21a.

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Domingues, José Maurício. "Global Ramifications: Sovereignty and Autonomy." In Critical Theory and Political Modernity. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02001-9_7.

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Rundell, John. "The Erotic Imaginary, Autonomy, and Modernity." In Modern Privacy. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230290679_8.

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Domingues, José Maurício. "Dialectics and Modernity, Autonomy and Solidarity." In Social Creativity, Collective Subjectivity and Contemporary Modernity. Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230597556_7.

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Pattison, George. "Art, Modernity and Faith." In Art, Modernity and Faith. Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21461-7_1.

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Guyer, Paul. "Aesthetic Autonomy Is Not the Autonomy of Art." In Beyond Autonomy in Eighteenth-Century British and German Aesthetics. Routledge, 2020. http://dx.doi.org/10.4324/9780429330254-9.

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Donskis, Leonidas. "Secrets, Mysteries, Conspiracies, and Art." In Modernity in Crisis. Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339194_3.

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Conference papers on the topic "Art, Autonomy and Modernity"

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Qaddumi, Carroll Thronesbery Ayman, Michael Merta, Eugene McMahon, and Mike Monahan. "Supporting tests of autonomy: Autonomy Requirements Tester (ART)." In 2018 IEEE Aerospace Conference. IEEE, 2018. http://dx.doi.org/10.1109/aero.2018.8396556.

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Mishuchkov, Andrey, and Sergei Nizhnikov. "Polydiscursive Consensus in the Dialogue of Tradition and Modernity." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.158.

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Kiselev, Valery, and Varvara Chernykh. "The Spiritual Crisis of Modernity and Tu Wei-Ming'S Concept of Self-Cultivation." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.138.

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Zhao, Xiaowan. "The Collision of Tradition and Modernity,Application of Paper-cut art in Modern Design." In 2014 International Conference on Information, Business and Education Technology (ICIBET 2014). Atlantis Press, 2014. http://dx.doi.org/10.2991/icibet-14.2014.76.

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Nekrasova, O. G. "Ethno-artistic education in Krasnochikoy Elementary Art School in Transbaikalia. Experience and persuits." In Old Belief: History and Modernity, Local Traditions, Relations in Russia and Abroad. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0771-8-360-367.

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Shumakova, Svitlana. "THE THEATER OF MODERNITY: THE FUSIONS BETWEEN ART AND LIFE, EXPERIMENTS ON FORM AND CONTENT." In DÉBATS SCIENTIFIQUES ET ORIENTATIONS PROSPECTIVES DU DÉVELOPPEMENT SCIENTIFIQUE. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-05.02.2021.v6.45.

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Song, Zhanhai. "National Vision and Aesthetics Playing and Singing Art of Maqu Under the Construction of Aesthetic Modernity." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.79.

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Koesoemadinata, Mohammad. "Sundanese and Modernity in Sci-fi Comic (Case Study:Astahiam Nyasab series of Sundanese Magazine Mangle in 1986)." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294719.

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Li, Han. "Modernity: The Ultimate Problem of Contemporary Science Fiction Movies. Taking the Movie qBlade Runner: 2049q as an Example." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.54.

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Eli, Taleb. "VIRTUAL SPACES AND THE CULTURES OF MODERNITY: REFLECTIONS ON THE CENTRALITY OF CULTURE AND THE ART OF STORYTELLING." In 29th International Academic Conference, Rome. International Institute of Social and Economic Sciences, 2017. http://dx.doi.org/10.20472/iac.2017.029.011.

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