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| 类型/形式： | Electronic books |
|---|---|
| 提及的人： | Andy Warhol |
| 文件类型： | 书 |
| 所有的著者/提供者： |
Paul Mattick |
| ISBN: | 0415239206 9780415239202 0415239214 9780415239219 9780203417836 0203417836 |
| OCLC号码： | 51001551 |
| 语言注释： | English. |
| 描述： | xii, 185 p. : ill. ; 25 cm. |
| 内容： | Introduction -- Some masks of modernism -- Art and money -- Beautiful and sublime -- The rationalization of art -- Mechanical reproduction in the age of art -- Pork and porcelain -- The aesthetics of anti-aesthetics -- The Andy Warhol of philosophy and the philosophy of Andy Warhol -- The avant-garde in fashion -- Classless taste. |
| 责任： | Paul Mattick. |
| 更多信息： |
摘要：
What is the role of art in everyday life? Art writing normally contrasts art with "everyday life." This book explores art as integral to the everyday life of modern society, providing materials to represent class and conflict, to explore sex and sexuality, and to think about modern industry and economic relationships. Art, as we know it, is not common to all forms of society but is peculiar to our own; what art is changes with people's conceptions of the tasks of art, conceptions that are themselves a part of social history. The history of society does not shape art from the outside, but includes the attempts of artists to find new ways of making art and thinking about it. The essays in Art in Its Time offer a critical examination of the central categories of art theory and history. They propose a mode of understanding grounded in concrete case studies of ideas and objects, exploring such topics as the gender content of eighteenth-century theories of the sublime and beautiful, the role of photography in the production of aesthetic 'aura, ' the limits of political art, and the paradox by which art, pursued for its own sake with no thought of commercial gain, can produce the highest-priced of all objects. Employing an unusually wide range of historical sources and theoretical perspectives to understand the place of art in capitalist society, Art in Its Time shows a way out of many of the cul-de-sacs of recent art history and theory.
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