"Truth is ugly. We possess art lest we perish of the truth." Friedrich Nietzsche, The Will to Power #822 What is the relationship of truth to beauty, learning to art, political education to human flourishing? Philosophers from Confucius and Aristotle to John Dewey and Paulo Freire have investigated, as the axial human problem, how education is to help us in accomplishing our own humanization. The contemporary search for a genuinely critical theory and an authentically democratic society continues that project.
Gaut, B., Art as a Cluster Concept, in N. Carroll, ed., Theories of Art Today (Madison, WI: University of Wisconsin Press, 2000), pp.25-44. Levinson, J., Defining Art Historically, British Journal of Aesthetics, 19 (1979): 232-50.Reprinted in Lamarque and Olsen, eds. Aesthetics and the Philosophy of Art (Oxford: Blackwell, 2004), pp.35-46.
These artworks are unable to function alone. The problem of modern art theory is outlined in Hans Belting’s essay The End of the History of Art? from 1984, where he writes that the models of art and its histories present art as an autonomous system, that is assessed by the internal criteria formed by that system. The human functions within this arrangement as either an artist or a patron. He writes that present times require different techniques to write and assess art in hope that an art historian, who will also take on the role of an art critic, will breach the old divide between the art and the life, the gap that alienates modern art from its potential viewer.
Postmodernism: Economic Domination and the Function of Art Does aesthetic creativity relate to or influence reality? Does art possess the capacity to heal society? These questions seem implicit to Walker Percy's understanding of literature and art in general. Literature is a thought-involved process concerned with communication; it selves as a moral guidepost to commend society as well as correct it. Literature represents and describes; it presents readers with a method of articulating and resolving problems in society.
The British Avant-Garde: A Philosophical Analysis ABSTRACT: British Avant-Garde art, poses a challenge to traditional aesthetic analysis. This paper will argue that such art is best understood in terms of Wittgenstein¡¦s concept of "seeing-as," and will point out that the artists often use this concept in describing their work. This is significant in that if we are to understand art in terms of cultural practice, then we must actually look at the practice. We will discuss initiatives such as the work of Damien Hirst, most famous for his animals in formaldehyde series, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of stops on London Underground maps with those of philosophers. Cornelia Parker¡¦s idea that visual appeal is not the most important thing, but rather that the questions that are set up in an attempt to create an "almost invisible" art are what are central, will also be discussed.
Bird, A. and Osland, J. 2004. Global Competencies. Blackwell Publishers. Hofstede, G. H. 2001.
Kant thereby established a precedent for ... ... middle of paper ... ...contemporary concepts and concerns. While Burgin provides a means of distinguishing postmodernism from Modernism in art, there remains the problem of how to, or indeed whether, one ought to distinguish qualitatively between different postmodernist works. If social relevance is a characteristic of postmodernism, then degree or accuracy of social relevance may be used as an evaluative tool; however, as Harrison and Wood have pointed out (see Modernism in Dispute, p.240) radically critical work may become marginalised and lose its ability to challenge. Furthermore, if the main impact of a work depends on its contemporary relevance, it is likely to lose conceptual value with the passage of time; Haacke's The Safety Net (pl.D24) borrows its meaning from contemporary politics rather than conforming with Greenberg's idea of art as self-defining, and is hence now arguably of historic rather than artistic interest. The aesthetic of Greenbergian Modernism may never recover a dominant position within art history but, as Harrison and Wood have suggested, 'the contingency of the historical is only half the point of art'.
Specifically in academia as Foucault makes clear academia is intertwined with power. To understand legitimate power, we must view it through the lens of its practice. Postmodernists and some modernists moved away from a mystified critique of structures and actors and instead focused its discourses on practices, ideas, and conceptualizations. The modernist project is defined by its discourse in reason and progress specifically the ideas of rationalism and liberalism. It asks itself if people are truly free and rational.