There are teleologies inherent in termporal markers, modernism, fauvism, impressionism, this allows one to taxonomise, the temporal markers as modernism, fauvism, impressionism
Aesthetic philosophers tend to fix on one moment or one model of artistic practice, to ontologise it as art as such, and then to use this reified token for their own conceptual schemes
Rancière thinks criticality is undermined. In his view it is compromised, in the first instance, by its arrogant posture of demystification
Critical art is a type of art that sets out to build awareness of the mechanisms of domination to turn the spectator into a conscious agent of world transformation
First, not only is awareness not transformative per se, but ‘the exploited rarely require an explanation of the laws of exploitation
Rancière has a point here: too often cynical reason masquerades as critical practice in contemporary art.
Critical art depends on its own projection of a passive audience that it then presumes to activate. Third, critical art ‘asks viewers to discover the signs of capital behind everyday objects and behaviours’, but in so doing only confirms the ‘transformation of things into signs’
Aesthetic philosophers tend to fix on one moment or one model of artistic practice, to ontologise it as art as such, and then to use this reified token for their own conceptual schemes
Rancière thinks criticality is undermined in the present too. In his view it is compromised, in the first instance, by its arrogant posture of demystification
Critical art is a type of art that sets out to build awareness of the mechanisms of domination to turn the spectator into a conscious agent of world transformation
First, not only is awareness not transformative per se, but the exploited rarely require an explanation of the laws of exploitation
Rancière has a point here: too often cynical reason masquerades as critical practice in contemporary art. Second, critical art depends on its own projection of a passive audience that it then presumes to activate. Third, critical art ‘asks viewers to discover the signs of capital behind everyday objects and behaviours’, but in so doing only confirms the ‘transformation of things into signs’
Aesthetic philosophers tend to fix on one moment or one model of artistic practice, to ontologise it as art as such, and then to use this reified token for their own conceptual schemes
Rancière thinks criticality is undermined. In his view it is compromised, in the first instance, by its arrogant posture of demystification
Critical art is a type of art that sets out to build awareness of the mechanisms of domination to turn the spectator into a conscious agent of world transformation
First, not only is awareness not transformative per se, but ‘the exploited rarely require an explanation of the laws of exploitation
Rancière has a point here: too often cynical reason masquerades as critical practice in contemporary art.
Critical art depends on its own projection of a passive audience that it then presumes to activate. Third, critical art ‘asks viewers to discover the signs of capital behind everyday objects and behaviours’, but in so doing only confirms the ‘transformation of things into signs’
Aesthetic philosophers tend to fix on one moment or one model of artistic practice, to ontologise it as art as such, and then to use this reified token for their own conceptual schemes
Rancière thinks criticality is undermined in the present too. In his view it is compromised, in the first instance, by its arrogant posture of demystification
Critical art is a type of art that sets out to build awareness of the mechanisms of domination to turn the spectator into a conscious agent of world transformation
First, not only is awareness not transformative per se, but the exploited rarely require an explanation of the laws of exploitation
Rancière has a point here: too often cynical reason masquerades as critical practice in contemporary art. Second, critical art depends on its own projection of a passive audience that it then presumes to activate. Third, critical art ‘asks viewers to discover the signs of capital behind everyday objects and behaviours’, but in so doing only confirms the ‘transformation of things into signs’
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