The hallmark of the Hellenistic era was chaos due to the deteriorating political influence of the city states and countless ruinous wars among autocratic rulers. That Tyche, the mercurial goddess of chance, was highly venerated everywhere, clearly indicates the instability of the time. Hellenistic people were deeply cognizant of the omnipresence of contingency in their lives.
Educated Americans tend to confuse morality and art, and morality for them tends to mean social consciousness which usually equals bad art.
— Bret Easton Ellis (@BretEastonEllis) November 4, 2011
This quote illustrates the problem with criticism and art today, especially when it comes to pop culture critics.
The comic book critic Kelly Thompson dropped Wonder Woman after issue #7, and explained herself in her article “Is the Destruction of the Amazons The Destruction of Feminism in DC Comics?” Basically, the writer of Wonder Woman, Brian Azzarello, has returned the titular character Wonder Woman to ancient Greek mythological roots. However, Greek mythology is much more bloodthirsty and savage than their previous incarnations, notably expressed by George Perez in the mid 80s. The Olympians of Perez seemed closer to the stoic figures of Roman mythology: certainly noble but mostly detached from the affairs of mortals. Continue reading Criticism and Pop Culture
I have compiled chapters 1 – 3 in pdf, and are available upon request. Here are pages one from chapter 2 and 3:
When it comes to art and opinion, we are always reminded of the latin maxim: De gustibus non est disputandum (There’s no disputing taste). However, in the anime Hyouka (13th episode) the issue of art and subjectivity is raised by two high school girls, between Mayaka Ibara and her senpai, the president of the manga club. Continue reading Are all opinions of art equal?
I came across this fascinating article on salon.com about the corrupting influence of nostalgia on contemporary culture. The argument of so-called Generation Void is that retro-zeitgeist nostalgia has mutated to the point that there’s no longer any original work anymore. Continue reading A vote for retromodernism
This exceedingly liberal idea that everyone is an artist –irrespective of the fact whether they’ve produced any artwork – has never sat well with me, personally. If art is the process of arresting creativity with production that is shared with others, then only a select few qualify as artists. In other words: only the actual is genuine, not the potential. Continue reading “We are all artists.” Really?
There’s an anti-aesthetic movement, an undercurrent of skepticism of art, in academia. Recent developments in literary studies claim the aesthetic is only a tool of ideology, a complicit institution that reinforces the modern capitalist state.
“Philosophy has so long been sought in vain because it was sought by way of the sciences instead of by way of the arts.” Schopenhauer is the first thinker to grant art the highest philosophical rank and constructs an anesthetic metaphysics in book III. Contra Kant, Schopenhauer claimed that the aesthetic experience, instead of revealing to us our moral vocations, is the vehicle for escaping the conditions of the Will. Continue reading World as Will and Representation: Book III
Modern art emerged during the end of realism or the crisis of representation (Cezanne, Cubism, Dadaism, Surrealism). Realism is defined as the mirror theory of knowledge where the mind is a mirror of reality and objects that exist independently of the mind are represented (reproduced by a concept/work of art) adequately, accurately and true. Continue reading genealogy of modern art
Questions that are framed by the word “what” are formally essentialist, because they presuppose the possibility of an essence that satisfies the question. Ergo, asking questions like “what is art” predisposes the subject matter of art into an essentialist framework. Continue reading Aesthetic of Art