In this route the question of artistic value is one of great importance and yet, it is not one that could be sufficiently answered. Using as disciplinary pillars from one side, the abstract and idiosyncratic realm of art theory and on the other the practical world and language of commerce, the thesis will attempt to look into the specific conditions that contributed to the Cremaster Cycle’s immediate valorization as high art. Due to such characteristics the research and analysis of the case study was carried out against the background of Pierre Bourdieu’s ‘field theory’, echoing therefore the aesthetic ‘field of the Cremaster Cycle’. Within this particular frame, we will see the faithful coming together of various agents, in support of an aesthetic idea or else, a cultural product, whose form seems intrinsically bound to both a social and an economical agenda, while at he same time it expresses a very particular aesthetic one. Such processes, facilitated by private and institutional patronage, are understood as integral to the art production from the 1990s and onwards, making the professional field of art equally important as the aesthetic one. The Cremaster Cycle of Matthew Barney, a notorious and at the same time, enigmatic production of contemporary art, illustrates a process of contemporaneous art historical indexing and to the creation of cultural capital. A cultural production that peculiarly illustrates a paradoxical process of preconsecration as high art, within the both the aesthetic and art professional fields it is hosted within. The following thesis makes a critical attempt for approaching the concept of artistic value based on case-study of a unique in its kind contemporary artwork. CREMASTER SERIES DOWNLOAD LICENSEText ( Matthew Barney’s Cremaster Cycle and the Ordeal of Value)Īvailable under License Creative Commons Attribution Non-commercial No Derivatives.
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