Titlebook: Against Art and Culture; Liam Dee Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Art and Iconoclasm.Art as Commodity.Art a

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Artistic License: The Catechisms of Art/Culture,to hold onto some degree. Starting with a brief examination of how art/culture is perceived to be a fact of human nature, and thus beyond political critique, the focus moves to the three core affirmative qualities that are almost universally held truths about art/culture. The first is that art/cultu

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,That’s Showbiz! Artistic Form and Control,artworld bureaucracy and culture industry professionalization; and the impoverished products of supposed ‘transcendent beauty’ or even just ‘escapist fun’ that never produce epiphanic awe or sensual fulfilment. This disciplining and impoverishment of aesthetic experience is detailed in terms of its

不規(guī)則的跳動(dòng)

Conclusion: ,,ames the conclusion, by briefly examining what needs to be done to imagine and fight for a better post-art/culture future. While I acknowledge my negationary debt to dissident ‘creatives’ like Dada, Situationism and punk I also show the limits of their various projects of transcendence. Too often th

DENT

Artistic Differences: In Search of a Negation,sceticism of ‘high art’, vandalism on ‘a(chǎn)rt’ as property and iconoclasm on ‘a(chǎn)rt’ as blasphemous idol. But more telling is how even the most explicit ‘a(chǎn)nti-art’ position cannot bring itself to fully excoriate what it is supposed to target. Indeed many of these negations turn out to be attacks on ‘false art’ and celebrations of ‘true art’.

聯(lián)邦

Book 2018y of these two fields around named-labour, idealised creative subjectivity and surplus signification. Contending a conceptual and social reality of a combined ‘a(chǎn)rt/culture’ , this book demonstrates that the failure to appreciate the dynamic totality of art and culture by its purported negators is du

協(xié)迫

cs for a post-art/culture world.Engages with popular media d .Offering a negative definition of art in relation to the concept of culture, this book establishes the concept of ‘a(chǎn)rt/culture’ to describe the unity of these two fields around named-labour, idealised creative subjectivity and surplus sig

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