Bibliografías temáticas / Art, Autonomy and Modernity

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Literatura académica sobre el tema "Art, Autonomy and Modernity"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 5 de febrero de 2022

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Artículos de revistas sobre el tema "Art, Autonomy and Modernity"

1

Rajan, Roby. "Art, Economy, and the Differentiation of Value". Alternatives: Global, Local, Political 21, n.º 4 (octubre de 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 modernity, and each has been accompanied by a discourse concerned to elaborate its own autonomy and self-referentiality, they nevertheless stand in a complex relation to one another to define themselves mutually in a crisscrossing network of relations.
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2

Lütticken, Sven. "Autonomy as Aesthetic Practice". Theory, Culture & Society 31, n.º 7-8 (6 de febrero de 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 artistic register, simultaneously or successively. The aesthetic act thus stages a passage from the artistic to the political, and vice versa.
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3

Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time". Ars & Humanitas 9, n.º 2 (4 de diciembre de 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”, romanticists not only paved the way for Modernism, but also thwarted the application of a newly risen stylistic methodology concerned with the cultural codification of style. The disagreement between the “classicists”, and “romanticists”, eventually culminated in the schism of the Paris Salon and the emergence of a wide range of new trends, heterogeneous conceptions and avant-garde movement, all in a very short space of time. The concept of “the style of epoch” has been staggered by the challenges of the 20th century. The function of culture within the stylistic characteristics of the 19th century art production was appropriated by artists, whose artwork acquired total objectual autonomy. The cultural and stylistic codification of of historical periods conceived in the 18th century could no longer be applied to the heterogeneous art produced during the Modernist era. By affirming the obviousness of the visual, Modernism eluded all the semantic, functional, utilitarian, narrative and symbolic burdens of earlier periods. This article endeavours to show how, subsequent to the epoch of Modernism, style can be discussed exclusively at a level of the apparent expressed features of an artwork. Codification which follows the principle of temporal “anchoring” in the cultural context of the Modernits era of Modernism remains both risky and ineffective stylistic strategy.
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4

Lah, Nataša. "How Style Became Famous and Irrelevant at the Same Time". Ars & Humanitas 9, n.º 2 (4 de diciembre de 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”, romanticists not only paved the way for Modernism, but also thwarted the application of a newly risen stylistic methodology concerned with the cultural codification of style. The disagreement between the “classicists”, and “romanticists”, eventually culminated in the schism of the Paris Salon and the emergence of a wide range of new trends, heterogeneous conceptions and avant-garde movement, all in a very short space of time. The concept of “the style of epoch” has been staggered by the challenges of the 20th century. The function of culture within the stylistic characteristics of the 19th century art production was appropriated by artists, whose artwork acquired total objectual autonomy. The cultural and stylistic codification of of historical periods conceived in the 18th century could no longer be applied to the heterogeneous art produced during the Modernist era. By affirming the obviousness of the visual, Modernism eluded all the semantic, functional, utilitarian, narrative and symbolic burdens of earlier periods. This article endeavours to show how, subsequent to the epoch of Modernism, style can be discussed exclusively at a level of the apparent expressed features of an artwork. Codification which follows the principle of temporal “anchoring” in the cultural context of the Modernits era of Modernism remains both risky and ineffective stylistic strategy.
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5

Roberts, John. "After Adorno: Art, Autonomy, and Critique". Historical Materialism 7, n.º 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 forms of modern technology and everyday life was a good thing. Indeed, both artists were proselytisers for photography and its powers of social reference and communality. Discussions of art's autonomy were not on their checklist of priorities. In fact, if autonomy was discussed or thought of at all, it was denounced as a bourgeois category. Autonomy was what Clement Greenberg and modernist painters believed in, and the bane of all materialist art criticism. It was not what serious post-conceptualist artists, armed with the ‘critique of representation’ and theories of the social production of art, should be worrying about.
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6

Łukasiewicz, Krzysztof. "Coś więcej niż filozofia sztuki. Wokół Simmlowskich rozważań o Michale Aniele". Prace Kulturoznawcze 21, n.º 4 (30 de octubre de 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 relation between art, ethics and modernity. Max Weber and Ernst Cassirer argued against Simmel’s allegedly emphatic and aesthetic conception of culture.
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7

Buttes, Stephen. "The Failure of Consuelo’s Designs: Carlos Fuentes and Trompe l’Oeil Modernity". Revista Canadiense de Estudios Hispánicos 41, n.º 2 (10 de enero de 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 Fuentes, lo barroco, lo gótico, la antiteatralidad, la autonomía literaria The present study examines the tensions between Baroque and Gothic elements in Carlos Fuentes’ Aura (1962). Analyzing unstudied connections between La región más transparente (1958) and Aura, the essay argues that Fuentes radicalizes the theatricality of Baroque and Gothic forms in his novel in order to signal their limits. With his use of the second person singular to narrate the novel, he seeks to develop a new concept of modernity, one that would not be subordinated to already existing political models. This concept of literary form parallels the pastoral conception of antitheatrical art studied by Michael Fried. Keywords: Carlos Fuentes, Baroque, Gothic, antitheatricality, literary autonomy
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8

Mance, Ivana. "Towards the Theory of the Naïve Art – Grgo Gamulin and the Understanding of Modernism". Artium Quaestiones, n.º 30 (20 de diciembre de 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 it should therefore be considered an equally valuable movement of contemporary art. However, in order to defend its authenticity, he began adhering to the ab ovo theory, the notion that naïve art does not arise as a cumulative result of the historical development of art, but that it ontologically precedes that development. The naïve artist, according to Gamulin, always starts from the beginning, independent of events in the art world, and immune to influences. A naïve artist is therefore necessarily authentic, or rather original: not having any role models, he develops an individual style, independently building his own visual arts language. Gamulin further posits that the visual arts language of the naïve is not based on a naive imitation of reality, or mimesis, but on an instinctive, spontaneous symbolisation of subjective experience, and as such is completely autonomous in relation to the laws of reality, i.e. it is ontologically grounded in the artist’s imagination. Finally, in an effort to explain the social significance of naïve art, Gamulin interprets the emergence of the naïve in the context of the culture of modernism as compensation – a supposedly naïve attitude to aesthetic norms, as well as an imaginarium that evokes “lost spaces of childhood,” necessarily functions as a therapeutic substitute for the alienation of art and the modern life in general. As such, Gamulin’s theory vividly testifies to the character of naïve art as a phenomenon that is constitutive of the culture of modernism, but that also reflects a number of contemporary polemics and split opinions, not only on the topic of the naïve but of modernism as a whole. The split of opinions on naïve art, especially with regard to its genesis, partly reflects the positions of the so-called conflict on the left, discussions that were taking place between the interwar period and early 1950s with the aim of defining the relationship of leftist ideology to modernism, or rather the relationship between the values of socially-critical engagement and aesthetic autonomy. The discussion on the naïve, however, experienced a certain changing of sides– Grgo Gamulin, a one-time advocate for socialist realism, began supporting naïve art and thus rose to the defence of basically liberal understanding of modernism, while former opponents of socialist realism denounced the phenomenon of the naïve as ideologically inconsistent and aesthetically doctored. In conclusion, Gamulin’s theory, as well as the entire polemic around naïve art that was taking place during the 1960s and which the theory necessarily ties in with, demonstrates the complex contextual reality of a seemingly integral modernist paradigm, illustrating the confrontation of positions that is by no means peculiar to Yugoslav society.
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9

Zepke, Stephen. "Art as Abstract Machine: Guattari's Modernist Aesthetics". Deleuze Studies 6, n.º 2 (mayo de 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 and invisible forces, sensations that go beyond our human conditions of possibility. In this Guattari's modernism must be understood as being quite different from his co-option by contemporary art theorists influenced by post-Operaist thought. Post-Operaism understands politics as ‘being-against’, a dialectical form of negation that finds its political condition of possibility in what already exists. Because such thought sees modern art as being entirely subsumed by the institutions and markets that contain it, art itself must be negated in order for aesthetic powers to become political. This has lead post-Operaist thought to align itself strongly with the avant-garde positions of institutional-critique and art-into-life, or ‘non-art’. Guattari's modernism takes him in a very different direction, affirming modern art despite its institutional enframing, because art is forever in the process of escaping itself. This makes modern art the model in Guattari's thought for politics itself.
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Roberts, John. "Art After Deskilling". Historical Materialism 18, n.º 2 (20 de mayo de 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 the modern period. This will necessitate a focus on modernism and the avant-garde, and after, as it comes into alignment with, and retreat from, the modern forces of production and means of reproduction. Much, of course, has been written within the histories of modernism, and the histories of art since, on this process of confrontation and exchange – that is, between modern art’s perceived hard-won autonomy and the increasing alienation of the artist, and the reification of art under the new social and technological conditions of advanced capitalist competition – little, however, has been written on the transformed conditions and understanding of labour in the artwork itself (with the partial exception of Adorno). This is because so little art-history and art-criticism – certainly since the 1960s – has been framed explicitly within a labour-theory of culture: in what ways do artists labour, and how are these forms of labour indexed to art’s relationship to the development of general social technique (the advanced level of technology and science as it expressed in the technical conditions of social reproducibility)? In this article, I look at the modern and contemporary dynamics of this question.
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Tesis sobre el tema "Art, Autonomy and Modernity"

1

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 '
glocal'
and '
universal'
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 '
institution'
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 how '
autonomy'
has been a stake of struggle. The narratives about how '
commodification of culture'
and '
autonomy of the field'
proceed in the '
West'
and in Turkey are discussed in comparison in this ethnographic study that is realized by Constructive Grounded Theory and carried out by centering a group of art professionals living in Istanbul.
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2

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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5

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 established between this view of modernity and imperialism, and between progress and globalization. On the other hand, it discusses the conceptual shortcomings and historical inadequacy of this understanding of modernity against the background of recent findings and offers an interpretation of modernity as being constituted by a tension between a totalizing and a pluralizing interpretation of the world. An alternative pluralizing interpretation of modernity, which is not related to globalization, linked to the concept of autonomy and is best suited to understanding our current condition, is proposed. Part II aims, first, at challenging the narrative of the current hegemony of the liberal understanding of autonomy which underpins political globalization and makes unworkable any notion of a collective self; and second, at retrieving philosophically the normative content with which the concept of autonomy is associated. An assessment of the current global situation is offered which aims at showing the need for the construction of a bounded collective self in order to uphold democracy and challenge the modes of domination that contract theory, as a normative framework for institutional social life, perpetuates by means of legitimation or obfuscation. Part III establishes the historical context in which the views offered in parts I and II have been elaborated. First, a conceptual history of autonomy is provided. To my knowledge, no exhaustive and systematic history of the concept has been researched in scholarship. It has been taken for granted that Immanuel Kant is the inventor of the concept in its modern use, a view reinforced through the impressive work of Jerome B. Schneewind. Allegedly, Kant’s work opens the path to the constitution of individual autonomy as the basic understanding of freedom. In contrast to this understanding, the aim of Part III is to show that in conceptual and in historical terms, autonomy (re)emerges in modernity after its invention in classical Greece as a political concept and as a defining quality of the collective self in its relation with the political Other. At the same time, this part aims at retrieving and grounding historically an alternative interpretation of modernity that challenges the hegemonic and univocal understanding of modernity that has been analysed in Part I. It analyses the different movements of reformation that took place during the first half of the 16th century in the Holy Roman Empire, which culminated in the 1555 Peace of Augsburg, as the experiences under which the concept of autonomy was reintroduced into European modernity. It shows that at the moment when European imperialism was beginning with the “discovery of America”, alternative interpretations and experiences were already at hand, which aimed at challenging precisely this notion of imperialism. Part III thereby grounds in historico-conceptual terms the interpretation of modernity offered in Part I and the assessment of autonomy offered in Part II.
La primera part de la tesi fa un esforç per comprendre el nostre present i les tensions que el constitueixen a través d'una reconstrucció tant històrico-interpretativa i discuteix fonamentalment les teories d'arrel eurocèntrica. Tot i que hi ha raonament teòric, la forma de procedir i argumentar és fonamentalment històrica. Seguint aquest fil, analitzo un seguit de canvis històrics que permeten llegir certs desenvolupaments del món modern com una història de dominació i que, a parer meu, està a la base de l'associació conceptual reduccionista i unívoca entre modernitat i globalització. Des d'aquest angle, estableixo una connexió entre modernitat i imperialisme i entre progrés i globalització per fer-ne la crítica, i proposo una interpretació de la modernitat constituïda per la tensió entre una comprensió totalitzadora o pluralitzadora de món. La segona part de la tesi és predominantment conceptual, encara que es complementa en alguns casos amb observacions històriques. Hi presento l'aproximació interpretativa del concepte d'autonomia i poso en qüestió el seu ús dominant en el present. És en aquest part on s'introdueix i es desenvolupa la filosofia política de la modernitat que correspon a les anàlisis històriques del llibre i on es discuteixen les connexions entre exclusió, dominació i democràcia. La darrera part combina enfocaments històrics, contextuals, interpretatius i conceptuals per poder copsar totes les diverses variables que es posen en joc en la relació entre modernitat i autonomia. És en aquesta part on la història conceptual de l'autonomia és desenvolupada i que té com a objectiu no reduir els fonaments polítics de la modernitat al concepte de sobirania. S'analitzen els diversos moviments de reforma que van tenir lloc durant la primera meitat del segle XVI al Sacre Imperi Romanogermànic i que van culminar l'any 1555 amb la Pau d'Augsburg. Aquest és el rerefons on el concepte d'autonomia es reintrodueix i l'analitzo com un dels conceptes que mostraven en aquell moment la transició d'Europa a la seva època moderna. En contrast, suggereixo que just en el moment en què l'imperialisme global Europeu s'iniciava amb la 'descoberta d'Amèrica', ja estaven en joc interpretacions i experiències alternatives que qüestionaven el concepte de sobirania.
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6

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 definition of society, given that the interconnectedness of capitalism as a system is negated by the restriction of that definition to industrialised societies. In other words, there is a universalisation of the particularity of industrialised societies underlying Adorno's social theory, that hides a functionalist understanding of the state and disavows its constitutive character for capitalist social relations. The introduction of an analysis of the particularity of the state in latin American societies serves as a counterpoint to the societies analysed by Adorno. latin American societies are analysed from the point of view of Dependency Theory, particularly in relation to Henrique Cardoso's and Enzo Faletto's concept of dependent development. This concept allows a further differentiation internal to latin American societies and problematises the common assumption that structural heterogeneity is a key concept for understanding these societies. Consequently, the thesis focuses its analysis on the socio-economic and political situation of the societies in the Southern Cone of South America, particularly Argentina, given their relative social homogenisation during the 1960s. The thesis claims that contrary to Adorno's assumption that capitalist social development destroys collective subjectivities while producing homogenisation, the Southern Cone societies show that development and relative social homogenisation in contexts of dependency do not necessarily produce political neutralisation but rather its opposite. The problematisation of Adorno's social theory is further complicated by the historical development of capitalism during neoliberalism. The decoupling of the spatial grounding of the relation between capital and labour constituted during monopoly capitalism is presented from the point of view of the radical transformation of Argentine society from the mid-1970s onwards. The thesis introduced the concept of the 'destruction of the social' in reference to the central role that the process of accumulation by dispossession, as theorised by David Harvey, has for the transformation of Argentina. Given this expanded global context, the thesis then discusses the effects that the transformation of the relation between capital and labour has for the conditions of production of artistic labour during neoliberalism. In particular, it claims that the 'developmentalist' dynamic that aligns technological development, industrialisation and artistic material in Adorno's concept of the new, has been problematised by the primacy of financial valorisation as a form of accumulation, and the dynamic role that accumulation by dispossession has in it. The emergence of a globally expanded labour theory of culture is analysed in relation to the contemporary art produced in Argentina between the late 1960s and the 2000s. The relation between the socially regressive tendencies developed during this period and artistic technique is analysed throguh the introduction of the notion of the 'return to craft.'
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7

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.
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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8

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
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 Duque conseguia realizar uma crítica ao mesmo tempo experimental e teórica e que nutria essa certa generosidade de se manter sempre aberto aos desafios do presente, conseguindo forjar uma concepção singular de modernidade. A dissertação também se propõe analisar os artigos de crítica de arte referentes a alguns artistas relevantes no período, realizando uma análise formal concomitante com o texto do autor. Dessa forma, esse estudo permite pensar as amplitudes, mas também os limites da crítica de arte, principalmente no que tange a compreensão de certa modernidade plástica, não incorporada pelo autor, explicitando a sua condição de sujeito circunscrito no seu meio cultural. O estudo permite pensar as especificidades deste período histórico compondo um cenário social e cultural, com seus principais referenciais, indicando os aspectos singulares que permitiu ao Gonzaga Duque realizar uma crítica prol de um alargamento das fronteiras da visualidade na arte brasileira.
The present dissertation aims to analyze the performance of Gonzaga Duque as an art critic. This work reconstructs the trajectory of the aesthetic influences that had composed the theoretical universe of reference for the performance of Gonzaga Duque as an art critic. This study emphasizes the relationship of the author with the Symbolism, but equally approaches different sources and critical experiences involving contemporaries` artists and critics with relevance for its period, such as Baudelaire, Zola and Ruskin. This study indicates that Gonzaga Duque has a successful acting as critic, performing at the same time experimental and a theoretical analysis opened to the challenges of the present, building a singular conception of modernity. The dissertation also aims to analyze the art reviews themselves with peculiar emphasis to some relevant artists in the period. This study it allows the meditation about the amplitude, but also the limits of the critic, mainly referring to the comprehension of a certain plastic modernity, not incorporated by the author. Finally, the study allows thinking the specificities of this historical period composing a social and cultural scene, with its main elements, indicating the singular aspects that allowed to the Gonzaga Duque to cross the borders of the Brazilian art.
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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 within the field of sound art is found to be inadequate (Chau 2014, Keylin 2015). This thesis presents an original body of sound art practice as a means through which to uncover and explore connections between sound art, experimental composition, kinetic art and sculpture. The term 'electromechanical' is used to identify this work, highlighting its particular concerns with the use of electrically animated or amplified materials. Through the production, exhibition, critical appraisal and contextualisation of the work new observations and distinctions within the field are presented. These include the identification of a 'closed system aesthetic' and the distinction between robotic and process driven approaches to electromechanical sound art. A further contribution to the field consists of a detailed consideration of sound art emerging from an intersection of experimental music and sculptural practices during the 1960s. The original works produced for the project, and their production are documented and described in detail alongside existing canonical and contemporary examples of sound art. Analysis of these works is informed by materialist and object-orientated critical positions, and science and technology studies. The method of art practice as research is described and extended in an original way that encompasses and applies a systems approach to creative practice.
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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 loss of nature's normativity, of art's significance for cross-generational transmission of values, and of history's demand to carry forward the values of previous generations. He sees in art the opportunity to bring such traumatic loss to reflection, and calls for the aesthetics of mourning as art's contemporary vocation. In order to demonstrate the importance of an element of mourning, the discussion of Horowitz is followed by an account of Gianni Vattimo's attempt to retrieve art from a position of inessentiality. The lack of a tragic moment in his project highlights some of the drawbacks connected to such an omission. In the second part of the project I insist that, though the element of mourning is necessary, we should not stop there in the search for art's contemporary vocation. Using the phenomenology of Heidegger and Merleau-Ponty I sustain the hope that we may recover some form of continuity without disregarding the trauma of loss. Figurative art is particularly suitable for this task because it is more likely to preserve the integrity of its subject matter rather than breaking it down into its constitutive parts, potentially carrying forward elements of past modes of relating to our world.
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Libros sobre el tema "Art, Autonomy and Modernity"

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

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Totalitarian art and modernity. Aarhus: Aarhus University Press, 2010.

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Pattison, George. Art, Modernity and Faith. London: 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. Tervuren: Royal Museum for Central Africa, 2011.

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

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The five paradoxes of modernity. New York: Columbia University Press, 1994.

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

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

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

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

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Capítulos de libros sobre el tema "Art, Autonomy and Modernity"

1

Biale, David. "4 Autonomy and Modernity". En Law, Politics, and Morality in Judaism, editado por Michael Walzer, 50–54. Princeton: Princeton University Press, 2009. http://dx.doi.org/10.1515/9781400827206.50.

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Lütticken, Sven. "Autonomy". En Keywords for Marxist Art History Today, 29–38. Göttingen: V&R unipress, 2020. http://dx.doi.org/10.14220/9783737011143.29.

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Taheri, Alireza. "Thrownness and autonomy". En Hegelian-Lacanian Variations on Late Modernity, 104–7. New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003057390-18.

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Newall, Diana y Grant Pooke. "Formalism, modernism and modernity". En Art History, 31–54. 2a ed. Second edition. | Abingdon, Oxon ; New York : Routledge, 2021. | Series: The basics: Routledge, 2021. http://dx.doi.org/10.4324/9781315727851-21a.

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Domingues, José Maurício. "Global Ramifications: Sovereignty and Autonomy". En Critical Theory and Political Modernity, 229–52. Cham: 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". En Modern Privacy, 102–16. London: 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". En Social Creativity, Collective Subjectivity and Contemporary Modernity, 135–55. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230597556_7.

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Pattison, George. "Art, Modernity and Faith". En Art, Modernity and Faith, 1–9. London: 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". En Beyond Autonomy in Eighteenth-Century British and German Aesthetics, 135–60. New York : Routledge, 2020. | Series: Routledge studies in eighteenth–century philosophy: Routledge, 2020. http://dx.doi.org/10.4324/9780429330254-9.

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Donskis, Leonidas. "Secrets, Mysteries, Conspiracies, and Art". En Modernity in Crisis, 43–80. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339194_3.

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Actas de conferencias sobre el tema "Art, Autonomy and Modernity"

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

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

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Kiselev, Valery y Varvara Chernykh. "The Spiritual Crisis of Modernity and Tu Wei-Ming'S Concept of Self-Cultivation". En 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: 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". En 2014 International Conference on Information, Business and Education Technology (ICIBET 2014). Paris, France: 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". En 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". En 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". En Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: 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)". En 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". En 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: 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". En 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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