Transgressions: The Offences of ArtUniversity of Chicago Press, 2003 - 272 من الصفحات Since the mid-nineteenth century, artists have compulsively rejected received ideas in order to test and subvert morality, law, society, and even art itself. But what happens when all boundaries have been crossed, all taboos broken, all limits violated? Transgressions is the first book to address this controversial subject. Here Anthony Julius traces the history of subversion in art from the outraged response to Manet's Le Déjeuner sur l'Herbe to the scandal caused by the grant programs of the National Endowment for the Arts a century and a half later. Throughout the book, and supported by the work of such artists as Marcel Duchamp, the Chapman brothers, Andres Serrano, Damien Hirst, Gilbert & George, Paul McCarthy, Jeff Koons, Hans Haacke, and Anselm Kiefer, Julius shows how the modern period has been characterized by three kinds of transgressive art: an art that perverts established art rules; an art that defiles the beliefs and sentiments of its audience; and an art that challenges and disobeys the rules of the state. The evidence assembled, Julius concludes his hard-hitting dissection of the landscapes of contemporary art by posing some important questions: what is art's future when its boundary-exceeding, taboo-breaking endeavors become the norm? And is anything of value lost when we submit to art's violation? Transgressions is not a comfortable—still less a comforting—read, but it has a powerful urgency that makes it an essential document for anyone involved in our cultural life at the beginning of the twenty-first century. |
المحتوى
A Transgressive Work and its Defences A ThoughtExperiment | 15 |
The Transgressive | 16 |
Celebrating the Transgressive | 21 |
The Three Defences | 25 |
A Transgressive Artist The Origins of the Transgressive Period | 53 |
FlaubertManet | 55 |
The Female Nude | 59 |
Jesus Crucified | 75 |
Breaking Taboos | 129 |
Disobedient Art | 167 |
BaudelaireManet | 184 |
The End of Transgressive Art | 186 |
Demoralising the Artist | 196 |
Arts Vulnerability | 210 |
Coda Every Work of Art Is an Uncommitted Crime | 222 |
Bibliographical Essay | 236 |
An AntiGenre | 86 |
Genres Types Aspects | 98 |
A Typology of Transgressions | 100 |
Violating Art Rules | 115 |
List of Illustrations | 265 |
270 | |
عبارات ومصطلحات مألوفة
24 GIANT academic Andres Serrano Anselm Kiefer art canon art's Arthur Danto aspect audience avant-garde Bataille boundaries Brillo Cambridge canonic defence chapter characterise contemporary art conventions Courtesy critic Crucifixion culture Dada Dalí Danto David dead death distinct edited Edouard Manet essay estrangement defence example exhibition exposed formalist defence Francis Bacon Gallery genre GIANT SIZE PKGS Gilbert and George Golub Goya Haacke Hans Haacke human images Jeff Koons Judy Chicago kind Koons London Mapplethorpe Marcel Duchamp means Modern Art modern period moral Museum Nazi nude object offence Oil on canvas Olympia Pablo Picasso Painter painting Paris and DACS philosopher Photo photograph Picasso picture pieties Piss Christ politically resistant pornography quotation quoted relation remarked representation Robert rule-breaking rules Salvador Dalí sense Serrano shock subversive Surrealism Surrealists taboo theory tion transgressive aesthetic transgressive art transgressive artist transgressive artworks uncommitted crime viewer violation writes York
مقاطع مشهورة
الصفحة 6 - Art, upon any principles falsely called rational, which we form to ourselves upon a supposition of what ought in reason to be the end or means of Art, independent of the known first effect produced by objects on the imagination, must be false and delusive. For though it may appear bold to say it, the imagination is here the residence of truth. If the imagination be affected, the conclusion is fairly drawn ; if it be not affected, the reasoning is erroneous, because the end is not obtained ; the effect...
الصفحة 6 - All theories which attempt to direct or to control the art upon any principles falsely called rational, which we form to ourselves upon a supposition of what ought in reason to be the end or means of art, independent of the known first effect produced by objects on the imagination, must be false and delusive.