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Aesthetics of the Margins / The Margins of Aesthetics : Wild Art Explained / Joachim Pissarro, David Carrier.

By: Contributor(s): Material type: TextTextPublisher: University Park, PA : Penn State University Press, [2020]Copyright date: ©2019Description: 1 online resource (240 p.) : 32 illustrationsContent type:
Media type:
Carrier type:
ISBN:
  • 9780271082639
Subject(s): Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- List of Illustrations -- Acknowledgments -- Introduction -- 1. Modern Foundations of the Art World -- 2 The Classical Model: Dogmatism and Alternative Models of Looking -- 3. Dawn of Modernity -- 4. The Wise, the Ignorant, and the Possibility of an Art World That Transcends This Divide -- 5. The Antinomy of Taste and Its Solution: Variations on a Theme by Duchamp -- 6. The Museum Era -- 7. Institutionalization of Art History -- 8. Art Beyond the Boundaries of the Art World -- 9. The Fluid Nature of Aesthetic Judgments -- 10. Kitsch, a Nonconcept: A Genealogy of the Indesignatable -- Conclusion -- Notes -- Selected Bibliography -- Index
Summary: “Wild Art” refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of “taste,” one in which each expression is acknowledged as being different while deserving equal merit.Arguing that both the “art world” and “wild art” have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of “taste” in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of “wild art” in the present will radically transform our understanding of contemporary visual art in the future.Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of “kitsch” and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780271082639

Frontmatter -- Contents -- List of Illustrations -- Acknowledgments -- Introduction -- 1. Modern Foundations of the Art World -- 2 The Classical Model: Dogmatism and Alternative Models of Looking -- 3. Dawn of Modernity -- 4. The Wise, the Ignorant, and the Possibility of an Art World That Transcends This Divide -- 5. The Antinomy of Taste and Its Solution: Variations on a Theme by Duchamp -- 6. The Museum Era -- 7. Institutionalization of Art History -- 8. Art Beyond the Boundaries of the Art World -- 9. The Fluid Nature of Aesthetic Judgments -- 10. Kitsch, a Nonconcept: A Genealogy of the Indesignatable -- Conclusion -- Notes -- Selected Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

“Wild Art” refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of “taste,” one in which each expression is acknowledged as being different while deserving equal merit.Arguing that both the “art world” and “wild art” have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of “taste” in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of “wild art” in the present will radically transform our understanding of contemporary visual art in the future.Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of “kitsch” and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Mrz 2023)