Schlebrügge Editor (2008)
AbstractIn reading all the theoretical contributions to this book, an essentially common idea of the social can be observed which is of fundamental importance for a new definition of artistic production: a process-related order of institutionalized actions, including the linguistic actions to which individuals are exposed. For here, in the repetition of such institutionalized acts, is where subjects first emerge at all. Objects, whether they be objects of everyday use or whole architectures, are like moulds which provide for the institutionalization of actions. The artist emerges as a social figure, as the product of a society and the agent of political interests. From this point of view, the status of objects, the status of the “work” is not the expression of a circumscribed meaning, but the instrument of forming a subject. The opposition of theory and practice becomes obsolete. Subject and object are meaning written into actions.
Similar books and articles
David Carrier's Art History.Jonathan Gilmore - 1995 - Journal of Aesthetics and Art Criticism 53 (1):39-47.
Convergences in Music and Art: A Bibliographic Study.George C. Schuetze - 2005 - Harmonie Park Press.
Les congrès: Le congrès international de l'enseignement Des sciences sociaLes.Dick May - 1900 - Revue de Métaphysique et de Morale 8 (6):784 - 793.
Art and the City.Nicholas Whybrow - 2010 - Distributed in the U.S. And Canada Exclusively by Palgrave Macmillan.
Le II E congrès international d'esthétique et de science de l'art (paris, 7-11 aout 1937).Raymond Bayer - 1938 - Revue de Métaphysique et de Morale 45 (1):161 - 172.
Theory and Philosophy of Art: Style, Artist, and Society.Meyer Schapiro - 1977 - George Braziller.
Added to PP
Historical graph of downloads