![]() The artists in this exhibition have chosen beauty as a useful tool in their work and accessed a variety of approaches. These modes explain the relevance of art to human existence, and room for them all must be found in an adequate definition of art. In On Beauty 2002, Danto writes:īeauty is one mode among many through which thoughts are presented in art to human sensibility – disgust, horror, sublimity, and sexuality are still others. A number of writers have been thinking similar things.Īrthur Danto, following provocations by David Hickey, pointed out, beauty is now an aesthetic choice, not the definitional be-all and end-all of art. The contemporary revival of the Romantic, what Timotheus Vermeulen and Robin van den Akker identify as Neo-Romanticism, in their article ‘Notes on Metamodernism,’ is a marker of our current age that wants to reengage with the ethical and the aesthetic on so many issues facing the world. The twentieth century separated art from beauty Nature became a mythological state, and the beautiful itself became an incredulous term. After the postmodern, in a post-humanist world, we can no longer rely on canonical certainties. The scare quotes of postmodernism have been replaced by a new sincerity.Īrt and Nature have traditionally been thought together in Western aesthetics as two categories that can be experienced as beautiful. What unifies this exhibition is faith that art can return to beauty without irony and that large abstract concepts (like love and spiritual life) are still subjects for art. Listen, today we are gods! Our blue shadows are enormous! We move in a gigantic, joyful world!”Ĭhalk Horse, in close collaboration with their stable of artists, has made an exhibition set in Nature, filled with spirituality, magic and wonder. “Everything in the world is beautiful, but Man only recognizes beauty if he sees it either seldom or from afar.
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