Description
Book SynopsisExamines art that stands outside the margins of the art world, the critical and cultural conditions that made this exclusion possible, and how recognizing this radically transforms our understanding of contemporary art.
Trade Review“Their recurring focus on Kant’s “antimony of taste,” an evaluation of aesthetic experience as individually unique but also paradoxically anchored to a hope for universal assent, has major implications for the calls for canon revision and new initiatives around diversity and inclusion that presently consume all corners of the “system.””
—Katherine Jentleson The Art Newspaper
“Carrier and Pissarro present a refreshing argument for aesthetic openness, for the benefit of considering things alien to our social and cultural indoctrination. Their provocative account of the shifting division between the Art World and Wild Art avoids resorting to cultural scandal or moral failure to propel its narrative. The authors merely point out that all cultures—others as well as ours—are exclusionary. Without claiming to rid us of our habits of exclusion, the authors aim to undermine the binary barriers to appreciating aesthetic value: good, bad; high, low; popular, elite. Theirs is a hard-headed, level-headed corrective to politicized accounts that pit one form of aesthetic practice against another.”
—Richard Shiff,author of Between Sense and De Kooning
Table of ContentsContents
List of IllustrationsAcknowledgmentsIntroduction1. Modern Foundations of the Art World2. The Classical Model: Dogmatism and Alternative Models of Looking3. Dawn of Modernity4. The Wise, the Ignorant, and the Possibility of an Art World that Transcends This Divide5. The Antinomy of Taste and Its Solution: Variations on a Theme by Duchamp6. The Museum Era7. Institution of Art History8. Art Beyond the Boundaries of the Art World9. The Fluid Nature of Aesthetic Judgments10. Kitsch, a Nonconcept: A Genealogy of the IndesignatableConclusionNotesSelected BibliographyIndex
