Aesthetics of the Margins / The Margins of Aesthetics : : Wild Art Explained / / Joachim Pissarro, David Carrier.

• Superior document: Title is part of eBook package: De Gruyter Penn State University Press Complete eBook-Package 2019
• VerfasserIn: Carrier, David,; Pissarro, Joachim,
• Place / Publishing House: University Park, PA : : Penn State University Press, , [2020]; ©2019
• Year of Publication: 2020
• Language: English
• Physical Description: 1 online resource (240 p.) :; 32 illustrations
• Other title: Frontmatter --; Contents --; List of Illustrations --; Acknowledgments --; Introduction --; 1. Modern Foundations of the Art World --; 2 The Classical Model: Dogmatism and Alternative Models of Looking --; 3. Dawn of Modernity --; 4. The Wise, the Ignorant, and the Possibility of an Art World That Transcends This Divide --; 5. The Antinomy of Taste and Its Solution: Variations on a Theme by Duchamp --; 6. The Museum Era --; 7. Institutionalization of Art History --; 8. Art Beyond the Boundaries of the Art World --; 9. The Fluid Nature of Aesthetic Judgments --; 10. Kitsch, a Nonconcept: A Genealogy of the Indesignatable --; Conclusion --; Notes --; Selected Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780271082639; 9783110745207
• DOI: 10.1515/9780271082639
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Joachim Pissarro, David Carrier.

“Wild Art” refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of “taste,” one in which each expression is acknowledged as being different while deserving equal merit.Arguing that both the “art world” and “wild art” have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of “taste” in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of “wild art” in the present will radically transform our understanding of contemporary visual art in the future.Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of “kitsch” and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.