For decades, aesthetics has been subjected to a variety of critiques, often concerning its treatment of beauty or the autonomy of art. Collectively, these complaints have generated an anti-aesthetic stance prevalent in the contemporary art world. Yet if we examine the motivations for these critiques, Michael Kelly argues, we find theorists and artists hungering for a new kind of aesthetics, one better calibrated to contemporary art and its moral and political demands. Following an analysis of the work of Stanley Cavell, ...
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For decades, aesthetics has been subjected to a variety of critiques, often concerning its treatment of beauty or the autonomy of art. Collectively, these complaints have generated an anti-aesthetic stance prevalent in the contemporary art world. Yet if we examine the motivations for these critiques, Michael Kelly argues, we find theorists and artists hungering for a new kind of aesthetics, one better calibrated to contemporary art and its moral and political demands. Following an analysis of the work of Stanley Cavell, Arthur Danto, Umberto Eco, Susan Sontag, and other philosophers of the 1960s who made aesthetics more responsive to contemporary art, Kelly considers Sontag's aesthetics in greater detail. In On Photography (1977), she argues that a photograph of a person who is suffering only aestheticizes the suffering for the viewer's pleasure, yet she insists in Regarding the Pain of Others (2003) that such a photograph can have a sustainable moral-political effect precisely because of its aesthetics. Kelly considers this dramatic change to be symptomatic of a cultural shift in our understanding of aesthetics, ethics, and politics. He discusses these issues in connection with Gerhard Richter's and Doris Salcedo's art, chosen because it is often identified with the anti-aesthetic, even though it is clearly aesthetic. Focusing first on Richter's Baader-Meinhof series, Kelly concludes with Salcedo's enactments of suffering caused by social injustice. Throughout A Hunger for Aesthetics , he reveals the place of critique in contemporary art, which, if we understand aesthetics as critique, confirms that it is integral to art. Meeting the demand for aesthetics voiced by many who participate in art, Kelly advocates for a critical aesthetics that confirms the power of art.
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New. Series: Columbia Themes in Philosophy, Social Criticism, and the Arts. Num Pages: 272 pages, 16 halftones. BIC Classification: 3JJ; ABA; ACXJ; HPN. Category: (P) Professional & Vocational. Dimension: 210 x 140...2017. Reprint. Paperback.....We ship daily from our Bookshop.
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Fine. Sewn binding. Cloth over boards. With dust jacket. 272 p. Contains: Illustrations, black & white, Figures. Columbia Themes in Philosophy, Social Criticism, and the Art. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
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New. Sewn binding. Cloth over boards. With dust jacket. 272 p. Contains: Illustrations, black & white, Figures. Columbia Themes in Philosophy, Social Criticism, and the Art. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
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New. Series: Columbia Themes in Philosophy, Social Criticism, and the Arts. Num Pages: 272 pages, 16 halftones. BIC Classification: HPN. Category: (P) Professional & Vocational. Dimension: 148 x 215 x 22. Weight in Grams: 420. 2012. Hardcover.....We ship daily from our Bookshop.
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New. Sewn binding. Cloth over boards. With dust jacket. 272 p. Contains: Illustrations, black & white, Figures. Columbia Themes in Philosophy, Social Criticism, and the Art.