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El. knyga: Art, Agency and the Continued Assault on Authorship [Taylor & Francis e-book]

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This book presents a counter-history to the relentless critique of the humanist subject and authorial agency that has taken place over the past fifty years.

It is both an interrogation of that critique and the tracing of an alternative narrative from Romanticism to the twenty-first century which celebrates the agency of the artist as a powerful contribution to the wellbeing of the community. It does so through arguments based on philosophical aesthetics and cultural theory interspersed with case histories of particular artists. It also engages with a second issue that cannot be separated from the first. This is the question of what the role and purpose of art is in society. This has become particularly important since the 1990s because of the "social turn" in art in which it is claimed that the only valid role for art was one that had explicit social consequences. This book argues that a political role for art is valuable, but not the only one that can be envisaged nor indeed is it the most obvious or most important. Art has other social roles both as a means to engender empathy and community, and to re-enchant a world bereft of meaning and reduced to material values.

The book will appeal to practising artists as well as scholars working in art history, philosophy, aesthetics, and curatorial studies.
List of Illustrations
xi
Acknowledgements xiii
Introduction 1(2)
The Four Questions
1(2)
1 The Emergence of the Romantic Subject
3(27)
1.1 Subjectivity and the Enlightenment
3(1)
1.2 Rousseau's Reconceptualization of the Subject
4(4)
1.2.1 The Two Types of Self Love
5(1)
1.2.2 The Importance of Childhood
6(1)
1.2.3 The Conditions for Authenticity
7(1)
1.3 Francisco Goya 1746--1828
8(12)
1.3.1 The Cabinet Pictures
9(2)
1.3.2 Los Caprichos
11(4)
1.3.3 The Disasters of War
15(1)
1.3.4 The "Black Paintings"
16(4)
1.4 Kant's Subjectification of Aesthetic Judgement
20(10)
1.4.1 Disinterestedness and Subjective Universality
21(1)
1.4.2 Genius, Spirit, and Exemplary Originality
22(3)
1.4.3 Later Misappropriations and Criticisms of Kant's Critique
25(5)
2 Art and Subjectivity in Post-Kantian Germany
30(22)
2.1 The German Romantics and Idealists
30(10)
2.1.1 The Counter-Enlightenment
31(1)
2.1.2 Romantic Metaphysics
32(3)
2.1.3 The Singularity of the Subject
35(3)
2.1.4 The Communality of the Subject
38(2)
2.2 Hegel's Aesthetics
40(2)
2.3 Nietzsche's Quest for Meaning
42(9)
2.4 Conclusion
51(1)
3 The Battle for Modernism
52(30)
3.1 Secularization, Disenchantment, and Spirituality
52(2)
3.2 The Avant-Gardes of Modernism
54(14)
3.2.1 The Aesthetic Avant-Garde
55(2)
3.2.2 Aestheticism and the Autonomy of Art
57(4)
3.2.3 Authenticity and Originality
61(2)
3.2.4 The Freudian Subject
63(1)
3.2.5 Primitivism and Spontaneity
64(3)
3.2.6 Commodification and Kitsch
67(1)
3.3 The Case of Die Brucke
68(5)
3.4 The Anti-aesthetic Avant-Garde
73(9)
3.4.1 Duchamp's Style
73(3)
3.4.2 The Readymade
76(3)
3.4.3 Duchamp's Indifference
79(3)
4 The Critique of Autonomy and the Disavowal of Agency
82(28)
4.1 Greenberg's Autonomy
82(2)
4.2 The Critique of Autonomous Art
84(4)
4.3 The Re-enchantment of Society
88(4)
4.4 Andy Warhol: The Man Who Became His Own Artwork
92(18)
4.4.1 The Search for Originality
92(1)
4.4.2 The Repudiation of Personal Style
93(6)
4.4.3 The Factory and the Apparent Dispersal of Agency
99(1)
4.4.4 Warhol's "Dispersal of Agency"
100(3)
4.4.5 Self-Negation and the Performance of Indifference
103(3)
4.4.6 Warhol's Pursuit and Manipulation of Celebrity
106(4)
5 Appropriation and the Critique of Originality
110(26)
5.1 Creativity Ex-Nihilo
110(4)
5.2 The Uniqueness of the Subject and Personal Style
114(10)
5.2.1 The Lacanian Subject
115(4)
5.2.2 The Repudiation of Personal Style
119(3)
5.2.3 Singularity of the Subject Guarantees Singularity of the Object
122(2)
5.3 The Age of the Copy
124(9)
5.3.1 Sherrie Levine
125(2)
5.3.2 Elaine Sturtevant: From a Discourse of Copy to a Discourse of Energy
127(6)
5.4 Frederick Jameson: Everything New Has Already Been Done
133(3)
6 Social Art Practices Part 1: Production
136(22)
6.1 Social Art Practices
136(2)
6.2 Critique of the Sole Author
138(10)
6.2.1 The Theological Argument
139(1)
6.2.2 Singularity or Solidarity?
140(3)
6.2.3 The Intrinsic Inter-subjectivity of the Subject: Jung, Winnacott, Buber, and Levinas
143(5)
6.3 Models of Collaboration
148(10)
6.3.1 Collaboration between Equals
149(2)
6.3.2 Collaboration between Artists Who Are Each Assigned a Different Role
151(3)
6.3.3 Collaboration with the Public under a Lead Artist
154(4)
7 Social Art Practices Part II: The Art Object and the Ideology of Reception
158(21)
7.1 The Art Object
158(6)
7.1.1 The Continuing Critique of Autonomy
158(2)
7.1.2 Commodification Anxiety
160(2)
7.1.3 Benjamin's Auratic Object
162(1)
7.1.4 The Afterlife of the Object
163(1)
7.2 Reception: The Problem of Evaluation
164(10)
7.2.1 Evaluation Based on Social Effect
165(3)
7.2.2 Contemplative Enjoyment as Negation of Critique
168(2)
7.2.3 The Assumption of Passive Spectatorship
170(2)
7.2.4 Critique of the Institution
172(1)
7.2.5 A New Public for Art
173(1)
7.3 Reception in a Monumental Time Frame
174(1)
7.4 Democratic Evaluation as a Category Error
175(1)
7.5 The Exclusion of Democratic Art Practices
176(3)
Conclusion 179(2)
Cited Sources 181(14)
Index 195
Simon Blond is Lecturer in the History and Theory of Art at Curtin University, Perth, Australia.