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An epilogue
Saurabh Dube

presence of Le Corbusier’s city of Chandigarh, the latter built with the blessings of Nehru – tell a rather different story, for which there is little space here. 18 See Kapur, When was Modernism ; and Sheikh , Contemporary Art in Baroda

in Subjects of modernity
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Andrew Bowie

society. It would be mistaken to underestimate the power of such art in the name of a knowing approach that seems to think it can itself, by its critical unmasking of the ideological aspects of art, offer more than the temporalised transcendence which takes the greatest art beyond ideology. However, the problem now, as Adorno’s arguments suggest, is that for contemporary art to continue in a decisive world-disclosive and critical role, it would need not to fall below a level which commands as much attention as the most advanced cognitive production.15 It could well be

in Aesthetics and subjectivity
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Antinomies and enticements
Saurabh Dube

Sheikh (ed.) Contemporary Art in Baroda ( New Delhi : Tulika , 1997 ). Concerning anthropological and historical perspectives related to the presence and play of the “visual” as variously part of the colonial and the national, the postcolonial and the modern, see, for instance, Christopher Pinney , Camera Indica: The Social Life of Indian Photographs ( Chicago

in Subjects of modernity
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The beginning of aesthetic theory and the end of art
Andrew Bowie

, to establish general view-points and accordingly to regulate the particular, so that general forms, laws, duties, rights, maxims are valid as the bases of determination and are the principle rulers. . . . The science of art is thus in our time much more necessary than in times in which art for itself as art provided complete satisfaction. (I p. 21) Aesthetic theory emerges for Hegel at the time when aesthetic praxis is no longer central to the articulation of truth. Earlier in the chapter I cited Danto’s comment about the contemporary art scene, that ‘the degree

in Aesthetics and subjectivity