Aesthetics, de-aestheticisation, abstraction : reflections on the philosophy of art after the avant-garde and conceptualism

Abstract Tiivistelmä Abstrakt Acknowledgements Introduction Part I. Aesthetics Introduction The Beginning of Aesthetics: Baumgarten’s ‘Science of the Sensuous’ Aesthetics as Philosophical Science on Pure Forms of Intuition: the ‘Transcendental Aesthetics’ of Kant’s Critique of Pure Reason Aesthetics as Philosophical Critique of Taste and Sensibility: Kant’s Critique of the Power of Judgement Aesthetics as a ‘Mere Name’ for Art Theory: Hegel’s Philosophy of Fine Art Concluding Remarks Part II. De-Aestheticisation Introductory Remarks Introduction De-Aestheticisation as the Heir to Jena Romanticism: Peter Osborne on the Premises of Conceptual Art in German Philosophy Critical Remarks on Osborne’s Theory from the Standpoint of Hegel’s Critique of the Jena Romanticists’ Philosophical Aestheticism Either Art or the Aesthetic: Keti Chukhrov on the ‘Aesthetic Schism’ in Modern Art Theory Critical Remarks on the Ideologisation of the Contra- and Pro-Aesthetic Positions The Revision of Kantian Aesthetics in Postmodern Art Theory: Thierry de Duve’s Re-Aestheticisation of Readymade The Avant-Garde’s Attack on the Institution of Art, and its Impact on Art and the Aesthetic: Peter Bürger’s Theory of the Avant-Garde Critical Remarks on Duve’s Theory from the Standpoint of Bürger. Preliminary Theoretical Conclusion The Neo-Avant-Garde and the ‘Sublation of the Aesthetic’: the Viewpoint of Art Praxis Remarks on Distinguishing the Aesthetic from the Artistic in the Institutional Theory of Art Concluding Remarks Part III. Abstraction Introduction. The Question of Abstraction: the Relation of Art to Life Praxis Abstract Art in Terms of Form and Content Abstract or Still Representational: ‘New Painterly Realism’, the ‘Fourth Dimension’ and the ‘Spiritual’ Abstract Art as ‘Presentation of the Unpresentable’: Jean-François Lyotard’s Conception of ‘Sublime Painting’ Robert Pippin: Abstract Art as Part of the Development of the Human Self-Consciousness in History Conclusion Introductory Remarks On a Work of Art On Split Personality, Theft, and Freedom On the Stupidity of the Artist and the Truth of Art References.

This publication presents the Theory volume of Ilya Orlov’s doctoral dissertation Aesthetics, De-Aestheticisation, Abstraction, and Five Efforts in Themes and Methods. The full version of the thesis, including all the written components and the image documentation of the artworks, can be accessed in the publications archive Taju.