Emmet Cole – Interview with Donald Kuspit on The End of Art. A photographic detail from the Hirst installation Home, Sweet Home – consisting of a clutter of fag . The Specter of the Absurd: Sources and Criticisms of Modern Nihilism. By Donald A. d T. Peterson – – Modern Schoolman 69 (1) The end of art / Donald Kuspit. p. cm. Includes bibliographical references and index. isbn 1. Art, Modern – 20th century. 2. Art – Philosophy.
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Account Options Sign in. The End of Art by Donald B. Peterson – – Modern Schoolman 69 1: Aesthetics categorize this paper. Hirst is the best-known member of a generation of young conceptual artists known as the Young British Artists. Return to Book Page.
Timothy Freeman – – Comparative and Continental Philosophy 5 1: Dec 06, Matt rated it did not like it. In The End of ArtKuspit traces the demise of aesthetic experience, the elevation of the banal over the enigmatic, the scatological over the sacred and the clever over the creative.
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The End of Art – Donald Kuspit – Google Books
Want to Read Currently Reading Read. For him, the prevailing concerns of postmodern art are a whimper. Seuss’ The Grinch Fantastic Beasts: Kuspit is sad that art is no longer beautiful. Sources and Tthe of Modern Nihilism.
Is Art Over?
On the other front, a line of intellectual or mental art developed. Sign in to use this feature. Arts NewsArts News. Crucially, postart is art that blurs the distinction between everyday life and art. Just a moment while we sign you in to your Goodreads account.
The End of Art
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They were mean-spirited and un Kuspit is sad that art is no longer beautiful. Hirst thought the whole thing hysterically funny.
Sign in Create an account. Emmet Cole is a freelance journalist and writer based in Dublin; www. Art has been replaced by “postart,” a term invented by Alan Kaprow, as a new visual category that elevates the banal over the enigmatic, the scatological over the sacred, cleverness over creativity.
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The Cult of the Avant-Garde Artist. Donald Kuspit argues here that art is over because it has lost its aesthetic import.
Request removal from index. Starting with Duchamp’s Readymadesit made its way through Andy Warhol’s Brillo Boxes and his association of art and business on into the ideological sloganeering of a Barbara Kruger, and more recently, into the utter vacancy and nihilism of Bruce Nauman’s Mapping the Studio I. In reaction to the emptiness and stagnancy of postart, Kuspit signals the aesthetic and human future that lies with the old masters.
In other words, as art it is very specifically about not being art.