In 1933, as the Nazis came to power, the Austrian novelist Hermann Broch referred kitsch to an emergent bourgeoisie caught between contradictory values, an asceticism of work on the one hand and an exaltation of feeling on the other. As a compromiseformation, this early kind of kitsch tended toward a blend of prudery and prurience, with sentiment at once chastened and heightened (a representative instance is the painting of Arnold Böcklin). Broch was categorical about the disastrous effects of this kitsch: he called it “the evil in the value-system of art.” Clement Greenberg agreed. In another momentous year, 1939, he underscored its capitalist dimension. “A product of the industrial revolution,” his kitsch was an ersatz version of “genuine culture,” which the bourgeoisie, now dominant, so... (查看原文)
ABAGo快乐大胖
Verso2015版
14 有用 baiya 2020-12-04 14:33:52
哈尔·福斯特：“在我们当今这个地球村里，无尽的资讯娱乐由居少数的政府与企业把持，而我们则被驯化成了村子里的白痴——对文化一无所知，对政治无能为力。”
0 有用 S 2021-11-18 09:41:21
对哈尔•福斯特的书很感兴趣，读完一遍发现了最后占书1/3的注释，放在书的最后就好像是凑页数，翻阅起来太不方便。“贱弃物”，“归档物”，“模拟物”，“垂危物”这几个概念非常好。挺多细节根本没读进去，以后有机会重看吧
1 有用 sihao 2022-05-03 17:58:18
最后一节提到参与式艺术，与关系美学和Bishop的不同，到底是旁观者这种介入是否破坏了美学，艺术家退位式的作品是否还是艺术，博物馆、艺术家亦或是策展人单方面动员如大人对孩子一般的激励和筹划，是否是合作还是自导自演，终是无法“使无生命之物重焕生机”。真实之感
2 有用 齐垚海豹蛙🍑 2020-12-21 15:35:33
四年前和网上的几个朋友一起读了这本书的英文版，开启了我的当代艺术问题视角。现在又把中文版看了一遍，深觉Folster真是常看常新。
0 有用 unidolphie 2022-02-20 00:59:26
最具启发意义的是四个分类概念的界定和提纯，一些段落罕见地有了纯粹的晦涩之美，像逻辑游戏。我所欣赏的批评往往进退自如，能施加批评也能审视批评本身，直达思考维度的边界。