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By Michael Grenfell

Pierre Bourdieu is now well-known as one of many key modern critics of tradition and the visible arts. artwork principles analyses Bourdieu's paintings at the visible arts to supply the 1st evaluate of his conception of tradition and aesthetics. Bourdieu's engagement with either postmodernism and the matter of aesthetics offers a brand new method of examining the visible arts. His curiosity is in how inventive fields functionality and the results their techniques have for artwork and creative perform. artwork ideas applies Bourdieu's conception of perform to the 3 fields of museums, images and portray. those useful examples are used as a springboard to deal with visible arts within the twenty first Century and to set up Bourdieu's ideas of artwork.

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Extra info for Art Rules: Pierre Bourdieu and the Visual Arts

Example text

Lévi-Strauss was particularly interested in the universal generating rules of society, for example, the distinction between the raw and the cooked (nature and culture) and the incest taboo. For Lévi-Strauss, many different myths and practices shared ‘deep structures’ which were homologous. In other words, while individual component parts were varied, indeed almost incidental, the actual structural relations set up were the same. This notion of the near arbitrariness of content also echoes Saussure’s own discovery that the signifier of anything signified was arbitrary; any word can be chosen to represent a particular meaning, as long as there is social consensus.

Aesthetic concerns can be traced back to the Greek origins of contemporary philosophy; both Plato and Aristotle were concerned with art and whether and how it might act as a carrier of ‘truth’ and ‘knowledge’. For Plato, at least, art could not be a vehicle for truth. The modern tradition of aesthetics stems from the seventeenth and eighteenth centuries, when attention was directed towards beauty in art and nature. The founding father of this approach to aesthetics was the German philosopher Immanuel Kant (1724–1804).

Structure is the linking phenomenon in Bourdieu’s work, but it is structure as subjective and objective, as both structured (and thus identifiable) and structuring (and thus dynamic and responsive with individual contexts) (see Bourdieu 1968). The world is somehow a product of this dynamic interplay and is probably best summed up in Bourdieu’s own description of his approach as structural constructivism or constructive structuralism (see 1989a). In each case there is a dynamic process of constructivism in terms of the interplay between the objective and the subjective structures.

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