By James Hellings
If the development towards the administered global is nearing finishing touch, if spectacularised societies, industrialised cultures, and reified recognition have taken regulate, then, Adorno and Art indicates how radical and innovative Adorno’s aesthetic concept of art’s double personality is still, and the way advanced, imaginitive and oppositional, sorts of paintings provide, maybe, the easiest wish for overcoming broken life.
The caricatures of Adorno, his politics and his aesthetics, are popular blunders of judgement—widely repeated either through the academy and via the Left. Adorno’s aesthetics has been accused of failing to maintain velocity with revolutionary inventive practices and for being socio-politically aloof. regardless of the endurance of those caricatures, this e-book exhibits how major photographs and issues in Adorno’s thought stay proper to the present state of affairs of artwork, aesthetics and politics.
The Adorno on convey during this quantity used to be no bourgeois mandarin, no boastful aesthete, no esoteric mystic, no depression pessimist, and no educational professional holed up within the proverbial ivory tower.
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Extra resources for Adorno and Art: Aesthetic Theory Contra Critical Theory
Art’s purposiveness without purpose or ‘the becoming autonomous of art,’65 Horkheimer and Adorno argued, ‘reverses the schema socially adopted by bourgeois art: purposelessness for purposes dictated by the market’ (DE 127–8). 66 According to Bernstein, Adorno’s idea of art’s autonomy must be understood in this double sense: ‘both as art’s loss of a (direct) social purpose, and as art’s refusal of the kind of purposiveness that has come to dominate society’ (FA 208). The type of new art Adorno favoured refused to serve the narrow interests or satisfy the reigning needs of homo oeconomicus.
Theodor W. ’ After the distribution of a leaflet entitled ‘ADORNO ALS INSTITUTION IST TOT,’ [Adorno as institution is dead] three young revolutionary females from the ‘Basisgruppe Soziologie’ circled around Professor Adorno, at first waving their bouquets of flowers, then kissing him, exposing their breasts, and confronting him with erotic pantomime. Professor Adorno, who had called the police last semester when 76 student radicals occupied his Institute for Social Research, tried to protect himself with his briefcase, and then left the lecture hall.
But, reputations are one thing and works and deeds are another. Making the case for the continued relevance of Adorno’s aesthetic theory to contemporary art and theory need not be arduous, for Adorno himself participated in one 16 Adorno and Art: Aesthetic Theory Contra Critical Theory of the more interesting contemporary art festivals: dOCUMENTA. 62 Adorno, himself, referred critically to dOCUMENTA in his Aesthetic Theory: The distinction urged by Benjamin between the artwork and the document holds good insofar as it rejects works that are not in themselves determined by the law of form; many works, however, are objectively artworks even when they do not present themselves as art.