Αποτελέσματα Αναζήτησης
What has been the relationship between art history and dominant ideologies? Is critical art primarily connected with the avantgarde or can it also be found in earlier periods? If so, in which forms? Why do ideologies hijack art and how does art participate in creating and embedding ideologies? Can we easily draw a line between art and ideology?
Art as Ideology Part of the task of a Marxist art history ought to be to reveal the work of art as ideology. (Clark 1977a, p. 3) The major focus of critiques of traditional studies of literature, art and culture in general, from Marxists and sociologists, has probably been the task of exposing the ideological nature of art. 1 A
In this chapter, I want to look at what is meant by the claim that art is ideological, and to review some of the work on the theory of ideology in general and the analysis of art in particular in order to try to arrive at an adequate understanding of art as ideology.
What does it mean when we speak of literature or art as "ideological form"? The question is of central importance for a materialist theory of art and especially for a theory of aesthetic cognition. For the idea of art as "ideological form" is concerned with the core of the artistic and
cultural art criticism explains artistic manifestations as being both generated by cultural premises and generating cultural effects. On the other, what I would term ‘ideological’ art criticism is consistent with ideological art in the sense that the meanings of artistic works aim both to
In its etymology and in popular discourse, the term ‘avant-garde’ is commonly associated with a future temporality, while in art-historical discourse, it represents a tradition of modernist innovation, periodised as ‘historical avant-garde’ and ‘neo-avant-garde’.
What explains the aesthetic diversity of the Arts and Crafts movement? Typically, artistic movements are characterized by a single style but the Arts and Crafts pro-duced both organic and geometric forms. Examining two Arts and Crafts retrospec-tive exhibitions, I find that organic aesthetics predominated in Great Britain, Scan-
