Aesthetic And Artistic Autonomy

Whether art can be wholly autonomous has been repeatedly challenged in the modern history of aesthetics. In this collection of specially-commissioned chapters, a team of experts discuss the extent to which art can be explained purely in terms of aesthetic categories. Covering examples from Philosophy, Music and Art History and drawing on continental and analytic sources, this volume clarifies the relationship between artworks and extra-aesthetic considerations, including historic, cultural or economic factors. It presents a comprehensive overview of the question of aesthetic autonomy, exploring its relevance to both philosophy and the comprehension of specific artworks themselves. By closely examining how the creation of artworks, and our judgements of these artworks, relate to society and history, Aesthetic and Artistic Autonomy provides an insightful and sustained discussion of a major question in aesthetic philosophy.

Whether art can be wholly autonomous has been repeatedly challenged in the modern history of aesthetics. In this collection of specially-commissioned chapters, a team of experts discuss the extent to which art can be explained purely in terms of aesthetic categories. Covering examples from Philosophy, Music and Art History and drawing on continental and analytic sources, this volume clarifies the relationship between artworks and extra-aesthetic considerations, including historic, cultural or economic factors. It presents a comprehensive overview of the question of aesthetic autonomy, exploring its relevance to both philosophy and the comprehension of specific artworks themselves. By closely examining how the creation of artworks, and our judgements of these artworks, relate to society and history, Aesthetic and Artistic Autonomy provides an insightful and sustained discussion of a major question in aesthetic philosophy.

What does it mean to speak of artistic autonomy at a time when art is fully commercialised and aesthetics has become the guiding principle of economic production and policymaking? This book by Sebastian Olma takes a fresh look at this question by summoning three heroes of the aesthetic revolution to confront the challenges faced by artistic practice today. Turning Kant into a campaigner for the Anthropocene, Schiller into a creative entrepreneur, and Schelling into a political activist, Olma lays the groundwork for a critique that identifies "the contemporary" itself as contemporary art's greatest challenge in the struggle to reinvent its autonomy and regain its relevance to society.

Martin Herberts timely new collection of essays considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms. Today, a large part of the artists role in our massively professionalized art world is being present. Herbert provides a counterargument for this proactive concept of self-marketing, examining the consequential nature of retreat, whether in protest, as a deliberate conceptual act or out of necessity. By illuminating the motives of artists including Stanley Brouwn, Charlotte Posenenske, David Hammons, Lutz Bacher and Agnes Martin among others, this book offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Martin Herbert is a writer and critic living in Berlin. He is associate editor of ArtReview and writes for international art journals. Previous books include The Uncertainty Principle (2014) by Sternberg Press and Mark Wallinger (2011).

This volume contains a selection of essays presented at the international conference on Cultural Crises in Art and Literature, held in Groningen in November 2002, in a special session on the question of the autonomy of the arts. Do we witness, in western culture, the end of the autonomy of the arts as it has been conceptualized and institutionalized since the eighteenth century? Indeed, developments of quite a different nature seem to have contributed to a blurring of boundaries between art and non-art, art and the market, art and politics or ethics, as well as between the arts themselves, and between 'high' and 'low' art. Although this volume does not pretend to map this complex process in its entirety - partly because it is impossible to step out of one's own history - it is meant as a contribution to the elucidation of the process itself, offering some challenging explanations as to the heat of the current debate.

How is art both distinct and different from the rest of human life, while also mattering in and for it? This central yet overlooked question in contemporary philosophy of art is at the heart of Georg Bertram's new aesthetic. Drawing on the resources of diverse philosophical traditions – analytic philosophy, French philosophy, and German post-Kantian philosophy – his book offers a systematic account of art as a human practice. One that remains connected to the whole of life.

A Return to Aesthetics confronts postmodernism's rejection of aesthetics by showing that this critique rests on central concepts of classical aesthetic theory, namely autonomous form, disinterest, and symbolic discourse. The author argues for the value of these concepts by recovering them through a historical reinterpretation of their meaning prior to their distortion by twentieth-century formalism. Loesberg then applies these concepts to a discussion of two of the most significant critics of the ideology of Enlightenment, Foucault and Bourdieu. He argues that understanding the role of aesthetics in the postmodern critique of Enlightenment will get us out of the intellectual impasse wherein numbingly repeated attacks upon postmodernism as self-contradictory match numbingly repeated defenses. Construing postmodern critiques as examples of aesthetic reseeing gives us a new understanding of the postmodern critique of the Enlightenment.

Philosophers working on aesthetics have paid considerable attention to art and artists of the early modern period. Yet early modern artistic practices scarcely figure in recent work on the emergence of aesthetics as a branch of philosophy over the course the eighteenth century. This book addresses that gap, elaborating the extent to which artworks and practices of the fifteenth through the eighteenth centuries were accompanied by an immense range of discussions about the arts and their relation to one another. Rather than take art as a stand-in for or reflection of some other historical event or social phenomenon, this book treats art as a phenomenon in itself. The contributors suggest ways in which artworks and practices of the early modern period make aesthetic experience central to philosophical reflection, while also showing art’s need for philosophy.

First Published in 2012. Routledge is an imprint of Taylor & Francis, an informa company.

Whether art can be wholly autonomous has been repeatedly challenged in the modern history of aesthetics. In this collection of specially-commissioned chapters, a team of experts discuss the extent to which art can be explained purely in terms of aesthetic categories. Covering examples from Philosophy, Music and Art History and drawing on continental and analytic sources, this volume clarifies the relationship between artworks and extra-aesthetic considerations, including historic, cultural or economic factors. It presents a comprehensive overview of the question of aesthetic autonomy, exploring its relevance to both philosophy and the comprehension of specific artworks themselves. By closely examining how the creation of artworks, and our judgements of these artworks, relate to society and history, Aesthetic and Artistic Autonomy provides an insightful and sustained discussion of a major question in aesthetic philosophy.