By J. Hellings
A accomplished, severe and available account of Theodor W. Adorno's materialist-dialectical aesthetic thought of artwork from a latest point of view, this quantity exhibits how Adorno's severe thought is awash with photos crystallising recommendations to this sort of measure that it has each cause to be defined as aesthetic.
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Additional info for Adorno and Art: Aesthetic Theory Contra Critical Theory
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.
Art becomes evidence (of subjective judgements); it becomes a document (of a subject’s existence), an official proof of something else (a subject’s choice), a support structure for another (a platform), mere information (discursive), and ‘a thing among things’ (MM 239) (a commodity). If, Schafhausen’s and Müller’s diagnosis of the current situation of art holds true, then, it appears as if we post-atomic people seem to have lost faith in the utopian power of art to point to a radically other world that is nonetheless only a tiny step away from the existing world.
Recalling an anecdote of Hanns Eisler’s, which offers a clue to the origin of Adorno’s image, W. ’2 The picture painted here expresses something of that subversive intrigue3 seen in Caspar David Friedrich’s earnest, romantic and melancholy Rückenfigur, Monk by the Sea (c. 1809), which was itself reinterpreted in photographic form with a good deal of playful parody, lighthearted caricature, and dry or sardonic humour by Bas Jan Ader in his, Farewell to Faraway Friends (1971). Both images show rearview figures in communion with the sea, lost to the sea.
Adorno and Art: Aesthetic Theory Contra Critical Theory by J. Hellings