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art beauty

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Journal Article
New German Critique (2021) 48 (2 (143)): 107–123.
Published: 01 August 2021
... on the recognition that modernist art has become a stand-in for the now-wrecked authority of living nature. Adorno contends that “natural beauty,” as elaborated by Immanuel Kant, is the recognition of that now-lost experience of nature, and that art beauty must be thereby interpreted as becoming the reconstructed...
Journal Article
New German Critique (2020) 47 (2 (140)): 169–189.
Published: 01 August 2020
.... Copyright © 2020 by New German Critique, Inc. 2020 Adorno natural beauty environmental aesthetics artwork nonhuman agency Art and artworks, then, become simultaneously a place for listening to nature and searching for what nature has and wants to say—and acknowledging these wishes...
Journal Article
New German Critique (2018) 45 (3 (135)): 73–95.
Published: 01 November 2018
... by the “truth content” of artworks. This theoretical move is meant to shed new light on how Adorno sees the relationship between art and politics. The inclusion of Adorno in the tradition of the beautiful and his portrayal as a forerunner of Jean-François Lyotard’s aesthetics of the sublime are flawed. In other...
Journal Article
New German Critique (2007) 34 (1 (100)): 141–163.
Published: 01 February 2007
.... Shea Coulson 145 methodical idolization of individuality—no longer leaves any room for the unconscious idolatry with which the experience of beauty has always been linked” (DE, 112). Unlike Benjamin, who posits the revolutionary capabilities that mass-produced art gives to the masses...
Journal Article
New German Critique (2021) 48 (1 (142)): 41–70.
Published: 01 February 2021
... futures. Lessing’s Laocoön is often said to be concerned with the problem of beauty, but this is to ignore the more fundamental Aristotelian tendency of his aesthetics: an allegiance to mimesis as the highest duty of art. In this sense, Lessing’s Laocoön is an essay about resemblance: even...
Journal Article
New German Critique (2008) 35 (2 (104)): 55–69.
Published: 01 August 2008
... that would determine the process called the judgment of beauty.”7 In a sense, Bernstein and Kaufman represent two dis- tinct poles in the interpretation of Kant’s contribution to Aesthetic Theory. Bernstein emphasizes the signifi cance of Kant’s account of aesthetic judgment for Adorno’s view of art...
Journal Article
New German Critique (2020) 47 (2 (140)): 139–167.
Published: 01 August 2020
... in a restrictive portrait of the subject as a formal shell without concrete materiality: “Nature, as appearing beauty, is not perceived as an object of action. The sloughing off of the aims of self-preservation—which is emphatic in art—is carried out to the same degree in aesthetic experience of nature” ( AT , 86...
Journal Article
New German Critique (2021) 48 (2 (143)): 147–175.
Published: 01 August 2021
.... As the objectifying recreation of this type of experience, film may become art. The technological medium par excellence is thus intimately related to the beauty of nature” (TF, 201). As Hansen reads it, this implies that for Adorno, film’s relevance lies in its capacity to hold true to nature’s appearance while...
Journal Article
New German Critique (2011) 38 (3 (114)): 17–34.
Published: 01 November 2011
..., just humans of extraor- dinary size, strength, and beauty. Charisma in art gives a magnified, exalted semblance of life. Its basic impulse is to create a world grander than the one the viewer or reader lives in, a world of beauty, sublime emotions, heroic motives and deeds, godlike bodies...
Journal Article
New German Critique (2021) 48 (2 (143)): 43–61.
Published: 01 August 2021
... manifested only a dependent beauty, in contrast to the free beauty of nature. The view held by Hegel was almost the reverse. ‘The beauty of art is beauty born of the spirit and born again . . . and the higher the spirit and its productions stand above nature and its phenomena, the higher too is the beauty...
Journal Article
New German Critique (2021) 48 (2 (143)): 85–105.
Published: 01 August 2021
... the experience of art, the aesthetic experience of nature is that of images . Nature, as appearing beauty, is not perceived as an object of action” ( AT , 65; emphasis added). The nonobjective quality of the image is also vital for Simmel, for whom the subjective constitution of landscape remains...
Journal Article
New German Critique (2017) 44 (1 (130)): 75–86.
Published: 01 February 2017
... . Beautiful Loot: The Soviet Plunder of Europe's Art Treasures . New York : Random House . Anonymous . 1997 . “The Myths of the Occupiers” (in Russian) . Zavtra , December 25 . Antonova Irina . 1995 . “We Don't Owe Anybody Anything” (in Russian) . Nezavisimaya Gazeta , March 5...
Journal Article
New German Critique (2015) 42 (1 (124)): 223–237.
Published: 01 February 2015
...Juliane Rebentisch It might sound somewhat tautological, but contemporary art is experiencing a boom. There is hardly any city that does not boast of having a contemporary art museum. More and more, biennials worldwide are devoted to assessing the current situation and thus are able to attract...
Journal Article
New German Critique (2007) 34 (3 (102)): 101–126.
Published: 01 November 2007
... in Göring the art collector. From the out- set, “The Beautiful Spoils,” her 1946 study of Nazi art pillaging, expresses disgust for practice mixed with respect for refi nement. “For several thousand years, the looting of art by the victors from the vanquished has been,” she declares, “the most...
Journal Article
New German Critique (2021) 48 (2 (143)): 63–84.
Published: 01 August 2021
... of Modern Art , 1984 . Russell Francey . “ Strange New Beauty: In Defense of Kristevan Sublimation .” Cincinnati Romance Review 35 ( 2013 ): 135 – 50 . Torgovnick Marianna . Gone Primitive: Savage Intellects, Modern Lives . Chicago : University of Chicago Press , 1991...
Journal Article
New German Critique (2024) 51 (1 (151)): 1–31.
Published: 01 February 2024
.... The bounded medieval street had been superseded as a standard of beauty, “to the same extent that similar canons have changed in other art forms such as music, so that there is a beauty in the endless, in the unbounded, in the fragmentary” (SG, 16). Without ever articulating what that new beauty was, Adorno...
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Journal Article
New German Critique (2013) 40 (1 (118)): 93–117.
Published: 01 February 2013
... artwork is to “bring death to all others” and to itself (Adorno, Minima Moralia, 75). This desire is, in part, art’s “impulse to self-destruction inherent in works of art, their innermost striving towards an image of beauty free of appearance,” of art (ibid Art’s relationship to beauty, in other...
Journal Article
New German Critique (2019) 46 (1 (136)): 197–228.
Published: 01 February 2019
... of youth and physicality and of visual beauty in the natural and manmade world. Significantly, the magazine’s eclectic visual culture—which also embraced images of male gymnastics and of children—inflected the ideological conflicts that centered on the unclothed body in this period. The article describes...
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Journal Article
New German Critique (2017) 44 (2 (131)): 25–40.
Published: 01 August 2017
... , no. 2 : 12 – 15 . Danto Arthur C. 2000 . The Madonna of the Future: Essays in a Pluralistic Art World . New York : Farrar, Straus and Giroux . Fuchs Eduard . 1898 . 1848 in der Caricatur . Munich : Ernst . Gassner Hubertus . 1992 . “Heartfield's Moscow...
Journal Article
New German Critique (2014) 41 (2 (122)): 125–144.
Published: 01 August 2014
...-century aestheticians held that art was meant to gen- erate beauty and truth through the sensuous expression of ideas: “In every artwork something infinite must reveal itself. The artwork obtains this infin- ity solely through ideas. But ideas are of extrasensory nature. Like everything that seeks...