Journal of Aesthetics & Culture最新文献_第4页

The aesthetic judgment “This is art” in Stanley Cavell and Thierry de Duve 卡维尔和迪夫对“这就是艺术”的审美判断

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Journal of Aesthetics & Culture Pub Date : 2021-01-01 DOI: 10.1080/20004214.2021.1954417

Pioter Shmugliakov, Alma Itzhaky

{"title":"The aesthetic judgment “This is art” in Stanley Cavell and Thierry de Duve","authors":"Pioter Shmugliakov, Alma Itzhaky","doi":"10.1080/20004214.2021.1954417","DOIUrl":"https://doi.org/10.1080/20004214.2021.1954417","url":null,"abstract":"ABSTRACT Stanley Cavell and Thierry de Duve have independently proposed that judgments of the type “This is art” are aesthetic judgments, to be understood along the lines of Kant’s analysis of the judgment of taste. Contrary to the common philosophical strategy of pursuing a definition of art that could be applied to controversial cases, Cavell and de Duve reinterpret the art-judgment as a reflective aesthetic judgment that claims universal agreement on non-conceptual grounds. Accordingly, judging something to be a genuine artwork is not a preliminary step but an inherent part of our aesthetic engagement with art. Furthermore, the transcendental grounding of such judgments implies that some universal and necessary conditions of human experience are revealed in the domain of art. Yet, our analysis shows that the two positions disagree on (1) the role of distinct artistic media as being essential (Cavell) or inessential (de Duve) to the art-judgment; and (2) the relation of criticism to judgment in the experience of art. Both points are related to the philosophers’ differences regarding the material aspect of artistic experience, as well as to some further moments in their respective appropriations of Kantian aesthetics. We propose that combining the complementing insights of the two positions contributes to defining the common framework of our experience of art in its characteristic contemporary diversity. Specifically, it serves to negotiate the still much relevant tension between the high modernist position represented by Cavell and the post-conceptual position represented by de Duve.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2021.1954417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41649497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

“WHITE TRASH”: GESTURES AND PROFANATIONS IN THE VISUAL ECONOMY OF FASHION “白人垃圾”:时尚视觉经济中的手势和亵渎

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Journal of Aesthetics & Culture Pub Date : 2021-01-01 DOI: 10.1080/20004214.2021.1886444

Roberto Filippello

{"title":"“WHITE TRASH”: GESTURES AND PROFANATIONS IN THE VISUAL ECONOMY OF FASHION","authors":"Roberto Filippello","doi":"10.1080/20004214.2021.1886444","DOIUrl":"https://doi.org/10.1080/20004214.2021.1886444","url":null,"abstract":"ABSTRACT In this article, a photo story depicting “white trash” subjects in the act of defying middle-class proprieties of dress and manners serves as a case study for a critical exploration of the performative registers through which working-class bodies figure as agents of social sedition in the visual economy of fashion. The unglamorous and confrontational bodies in Memory—shot by Alexei Hay and Justine Parsons for Dutch in 2000—enact a parody of professional fashion models by exhibiting an exuberant, uncontained sexuality that cuts against the codes of “good taste” and decorum. The photo spread epitomizes how the vernacular aesthetic of “white trash” has been embraced by independent fashion magazines in order to unsettle the normative aesthetics associated with high fashion imagery and, more broadly, mainstream visual culture. Engaging with Giorgio Agamben’s reflections on gesture and profanation, the article discusses the political effect of an overperformance of corporeality through prosaic, bawdy gestures and argues that the unboundedness of the bodies in the photo spread represents an affront to the capitalist regime of productivity from which these bodies are excluded. Finally, it highlights the contribution of the aesthetic category of “white trash” to the troubling of the representational conventions within the genre of editorial fashion photography and calls for a politically committed rethinking of the aesthetic consumption of fashion images.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2021.1886444","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44323687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The register of the artist 艺术家登记簿

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Journal of Aesthetics & Culture Pub Date : 2021-01-01 DOI: 10.1080/20004214.2021.1920693

Elizabeth A. Hodson

{"title":"The register of the artist","authors":"Elizabeth A. Hodson","doi":"10.1080/20004214.2021.1920693","DOIUrl":"https://doi.org/10.1080/20004214.2021.1920693","url":null,"abstract":"ABSTRACT Central to art was once its relationship to the imaginative interior of the artist. The legacy of romanticism and the sublime has been systematically eroded throughout the 20th and 21st centuries. Although for some not entirely lost. Contemporary discourses around the posthuman have played their part in the erasure of the artist, through the breakdown of the centrality of our bodily self in the world, and correspondingly, our imaginative interior as previously conceived has been jettisoned. Through the rise of the anthropocene, attention is now paid to the more or other-than-human, and even for those who take the person as part of this schema, the body is no longer closed, its interior bracketed off from the world, but part of a wider nexus, where fundamentally for the posthuman, the body-mind of the artist is not necessarily the originating source for creativity. This paper seeks to consider the material embodiments of these developments through exploring the working practice of artist Katie Paterson. Multidisciplinary and cross-medium, her work is concerned with immensity and particularity; her material is the stuff of the world, through which she tells the story of nature’s elusive phenomena. The artist is quelled and transformed in Paterson’s work through a re-articulation of the structures and processes normally hidden from us. In this way the register of the artist shifts and the subjective self is dispersed and reconstructed through alternative frames of reference, most notably geological time and the space of the cosmos. Heir to the romantic sublime, her work offers a reappraisal of the place of artistic subjectivity in the era of the posthuman. In so doing her work reveals the potential for a new posthuman sublime.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2021.1920693","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49178324","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Small-scale art organizations as participatory platforms for decolonizing practices and sensibilities 小型艺术组织作为非殖民化实践和情感的参与平台

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Journal of Aesthetics & Culture Pub Date : 2021-01-01 DOI: 10.1080/20004214.2021.1972526

Nina Möntmann

引用次数: 0

Between home and flight: interior space, time and desire in the films of Chantal Akerman 在家和飞行之间：尚塔尔·阿克曼电影中的内部空间、时间和欲望

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Journal of Aesthetics & Culture Pub Date : 2021-01-01 DOI: 10.1080/20004214.2021.1914969

Irene Valle Corpas

{"title":"Between home and flight: interior space, time and desire in the films of Chantal Akerman","authors":"Irene Valle Corpas","doi":"10.1080/20004214.2021.1914969","DOIUrl":"https://doi.org/10.1080/20004214.2021.1914969","url":null,"abstract":"ABSTRACT This article sets out to review the films of Chantal Akerman, mainly those that she made in the 1970s and 1980s, observing how her filmmaking formulates a journey to and from the home against the background of the historical scene post 1968. Through a selection of examples, I will argue that the singularities of her filmmaking—the exploration of suspended time, the preference for a frontal gaze at the female body, or the inclination to autobiography, being the most noteworthy traits—have their basis in her critical observation of the life of women in social spaces, and also in a commitment to their emancipation through desire. Seen in perspective, the path that Akerman takes is one of unstable—though coherent—movement through the rejection of domesticity as the place from which the oppression of women originates, the flight from this (in other words, nomadism), and a search for other interiors that function as the opposite of the family home. These other interiors are empty and anonymous rooms where time and the rules that govern society are suspended, where Akerman herself, or other characters who are her alter ego, go from one corporeal state to another, carrying out the basic activities of the body, such as eating, sleeping or having sex.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2021.1914969","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45317859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Feminist strategies for changing the story: re-imagining Arctic exploration narratives through (the staging of) photographs, travel writing and found objects 改变故事的女权主义策略：通过照片、旅行写作和发现的物品重新想象北极探险叙事

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Journal of Aesthetics & Culture Pub Date : 2021-01-01 DOI: 10.1080/20004214.2021.1997462

Stephanie von Spreter

{"title":"Feminist strategies for changing the story: re-imagining Arctic exploration narratives through (the staging of) photographs, travel writing and found objects","authors":"Stephanie von Spreter","doi":"10.1080/20004214.2021.1997462","DOIUrl":"https://doi.org/10.1080/20004214.2021.1997462","url":null,"abstract":"ABSTRACT This article shows how contemporary artistic practice seeks to re-evaluate, re-interpret and re-imagine (historical) Arctic exploration narratives that have generally been considered gendered and dominated by men. It particularly examines the work of contemporary Norwegian artist Tonje Bøe Birkeland, whose entire practice emerges from embodying and staging imagined turn of the century woman explorers. One of Birkeland’s explorers travels to the Arctic and the circumpolar North and explicitly references persisting narratives deriving from the so-called heroic era of polar exploration. In order to change these narratives, I argue, Birkeland employs two feminist strategies: firstly, by storytelling and speculative fabulation (Haraway); secondly, by simultaneously complying with and disrupting re-occurring Arctic motifs and representations. Photography, travel writing and found objects are hereby her primary artistic mediums and “accomplices” in fulfilling these strategies, carefully orchestrated in a photobook in order to establish her story and view on the Arctic world. As a result, Birkeland not only reveals which stories about the Arctic are missing and could have been told. She also asks us to imagine how our relationship to the Arctic could have been shaped differently and how, through this process, it is possible to influence a future narrative of a (still) gendered Arctic.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42725452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Oskar Schlemmer’s Kitsch (1922): a contextualisation and translation 施莱默的《媚俗》（1922）：语境化与翻译

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Journal of Aesthetics & Culture Pub Date : 2021-01-01 DOI: 10.1080/20004214.2021.1945239

Emily Brayshaw

{"title":"Oskar Schlemmer’s Kitsch (1922): a contextualisation and translation","authors":"Emily Brayshaw","doi":"10.1080/20004214.2021.1945239","DOIUrl":"https://doi.org/10.1080/20004214.2021.1945239","url":null,"abstract":"ABSTRACT This article contextualises a previously unpublished manuscript on the subject of kitsch written in 1922 by the Bauhaus practitioner Oskar Schlemmer and provides an original annotated translation as an appendix. The article positions Schlemmer’s manuscript as a response to debates about the aesthetics of kitsch among his contemporaries in the German and Austrian intelligentsia, including Austrian architect Adolf Loos; Stuttgart-based art historian and member of the Deutscher Werkbund Gustav Pazaurek; the founding member of the Dürerbund, Ferdinand Avenarius; and the avant-garde satirist Frank Wedekind. Schlemmer’s unpublished manuscript is also located as part of a broader response to the social upheavals of industrialisation and the First World War, where the concept of kitsch figured centrally in discussions among taste-makers about the progress and purpose of art and design in the new century. While “kitsch” in Germany before 1920 was generally considered to be in poor taste and an expression of bourgeois excess, Schlemmer argues that not all kitsch is bad. Schlemmer’s manuscript highlights a shift, following the First World War, in attitudes among the German avant-garde towards what constituted kitsch and the role that it may have had on design inspiration within modernist theatre. Like Pazaurek, who classified different categories of kitsch, Schlemmer, too, identifies a new category of kitsch—“true” kitsch—and states not only that it appears as an expression of the joy found in popular entertainment, such as at circuses and market fairs, but that it is beautiful and as such should be celebrated.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":"13 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2021.1945239","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41352331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The roads of rage and ruin: contemporary art and its publics after the global 愤怒与毁灭之路：全球之后的当代艺术及其公众

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Journal of Aesthetics & Culture Pub Date : 2021-01-01 DOI: 10.1080/20004214.2021.2010335

Simon Sheikh

引用次数: 0

The reconfiguration of publics and spaces through art: strategies of agitation and amelioration 通过艺术重新配置公共和空间:激荡和改良的策略

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Journal of Aesthetics & Culture Pub Date : 2021-01-01 DOI: 10.1080/20004214.2021.1898766

Anne Ring Petersen, S. Nielsen

{"title":"The reconfiguration of publics and spaces through art: strategies of agitation and amelioration","authors":"Anne Ring Petersen, S. Nielsen","doi":"10.1080/20004214.2021.1898766","DOIUrl":"https://doi.org/10.1080/20004214.2021.1898766","url":null,"abstract":"ABSTRACT Across the world, public spaces are undergoing profound transformations, in tandem with the pluralization processes resulting from several decades of intensified global migration. The aim of this article is to provide some overarching perspectives on the topic of this special issue by examining how artistic and curatorial modes of address contribute to the creation of new public spaces and new forms of publics and assemblies attuned to today’s culturally pluralized and transnationally interconnected societies. The first part outlines how the various roles of art in public spaces (broadly understood) have been defined and evaluated by influential theorists. This account also prepares the way for the focus of the subsequent parts on art’s capacity to intervene into, or alternatively negotiate, social conflicts, and on how this change has gone hand in hand with an increasing artistic and curatorial use of participatory strategies. We then move on to critically discuss this “participatory turn” and explore, by way of a case study of the Maxim Gorki Theatre’s 4. Berliner Herbstsalon (2019), how such practices may permit public spaces to serve as sites of contestation where hegemonic structures and practices are confronted and new forms of collective identification may emerge. We also introduce the concept of postmigrant public spaces to more accurately describe the conflict-negotiating and coalition-building role that art is increasingly called upon to fulfil in the public spaces of today’s culturally diverse “societies of negotiation” (Foroutan).","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46992960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Ariella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds Ariella Aïsha Azoulay和Georges Didi Huberman：失落世界的持久性

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Journal of Aesthetics & Culture Pub Date : 2021-01-01 DOI: 10.1080/20004214.2021.1994179

Stijn De Cauwer

{"title":"Ariella Aïsha Azoulay and Georges Didi-Huberman: the persistence of lost worlds","authors":"Stijn De Cauwer","doi":"10.1080/20004214.2021.1994179","DOIUrl":"https://doi.org/10.1080/20004214.2021.1994179","url":null,"abstract":"ABSTRACT In two striking books released in 2019, Ariella Aïsha Azoulay and Georges Didi-Huberman explicitly draw a connection between their respective theoretical approaches to images and their family histories. In Potential History: Unlearning Imperialism, Azoulay recounts the suppression of the existence of her Algerian-Jewish grandmother Aïsha by her father, who wanted to hide his Arabic-Algerian origins. Azoulay consequently develops a critical view on the history of photography and its role in the imperialist destruction of entire lifeworlds. In Pour Commencer Encore, Didi-Huberman recounts the story of his mother, who had to hide her Jewishness to survive the Nazi occupation of France, and of his father, who migrated to France as a Jewish Tunisian. In both cases, their relatives’ cultural identity had to remain invisible for various reasons in the countries in which their children grew up. Azoulay and Didi-Huberman present their approaches to images as influenced by the injustices experienced by these relatives and their commitment to them even goes as far as both them of changing their author names: Azoulay added “Aïsha” to her name and Didi-Huberman adopted his paternal (“Didi”) and maternal (“Huberman”) family name. However, this commitment led them to develop vastly different approaches to images and photographs. Whereas Azoulay emphasizes the role of photography in the imperialist destruction of worlds, remaining cautious of even reproducing certain photographs in her book, Didi-Huberman argues that worlds are never completely lost and that traces of these worlds always reappear by means of images. Azoulay aligns photography with imperialism and colonialism, while Didi-Huberman associates photography with migration. In their desire to do justice to the sufferings of their relatives, both influential theorists of images develop strongly diverging views on the politics of photographs and how they can reveal traces of lost worlds.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43917184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0