Anywhere or Not at All: Philosophy of Contemporary Art by Peter Osborne

By Peter Osborne

Modern artwork is the article of inflated and greatly divergent claims. yet what sort of discourse can open it up successfully to severe research? at any place or in no way is a massive philosophical intervention in paintings concept that demanding situations the phrases of proven positions via a brand new technique immediately philosophical, historic, social and art-critical. constructing the location that modern paintings is postconceptual artwork, the booklet progresses via a twin sequence of conceptual structures and interpretations of specific works to evaluate the paintings from a couple of views: contemporaneity and its worldwide context; artwork opposed to aesthetic; the Romantic pre-history of conceptual artwork; the multiplicity of modernisms; transcategoriality; conceptual abstraction; photographic ontology; digitalization; and the institutional and existential complexities of art-space and art-time. at any place or in no way maps out the conceptual house for an paintings that's either serious and modern within the period of worldwide capitalism.

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Anywhere or Not at All: Philosophy of Contemporary Art

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12 Jane Mayo Roos, Early Impressionism and the French State (1866-1874) (Cambridge: Cambridge University Press, 1996) p. 223 maintains that once artists’ associations assumed greater prominence, by the early 1880s there were numerous exhibitions in addition to the ones organized by the Impressionists. Among the more prominent were the Circle of the Artistic Union, the Artistic and Literary Circle, the Circle of the Liberal Arts, the International Society of Art and the Society of Water-Colour Painters.

Together with the pavilions mounted for each of France’s colonies, civilization appeared to have triumphed over savagery, just as French art was made to appear to have triumphed globally. Yet despite the boost given to the French Artists’ Salon by the Universal Exposition, as this Chapter also shows, the following year when the Bloc des Gauches was elected there was a revolt. After Cormon tabled new regulations for even greater exclusivity and Humbert proposed increasing participation amongst few, rather than many French artists, the Alsatian artist, Zwiller, circulated a petition rejecting both, pointing out its deleterious impact upon young artists and advocating a return to the Society’s original constitution.

However, this time they were too late. Its position was not only confirmed, but the Independent Artists’ Salon was also admitted to the Grand Palais the following year. With the rapid growth of art dealers and the advent of the commercial Tuileries Salon (Salon des Tuileries) in 1923, the “official Salons” that had once guaranteed the position of Paris as the “modern art’s centre” and helped the Third Republic to achieve its “civilizing mission” were finally displaced. Notes 1 Harold Rosenberg, “The Fall of Paris,“ Partisan Review, 1940 (repb.

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