Regimes of Identification of Art

Keywords: regimes of art, Jacques Rancière, Friedrich Schiller, Purchase of tears

Abstract

The problem of the demarcation of art and the efforts of analytical philosophy to work out the definition of art were the key issues in aesthetics through most of the 20th century. Tho­se issues emerged from recognizing the impossibility of indicating any sufficient or substantial attributes to being art. Instead of working out the definition the theorists eventually focused on the context which can by essential for recognize some actions or objects as an art. In my paper I cite one of the contemporary efforts of solution of that issues. I am referring to Jaques Rancière’s “regimes of art,” which can be consider as frames for not only interpretation of art but mostly as condition for recognition of art as visible. In other words: the dominant discourse decides what is recognized as art or what is visible as art. I will briefly present his “regimes of art” and I will try to confront them with one of the examples of contemporary socially engaged art.

References

Dziamski Grzegorz (1996) Postmodernizm wobec kryzysu estetyki współczesnej, Poznań: Wydaw­nictwo Naukowe UAM.

Schiller Friedrich (1983) Letters Upon The Aesthetic Education of Man, transl. E. M. Wilkinson and L. A. Willoughby [1967], Oxford: Clarendon Press.

Rancière Jacques (2009) Aesthetics and its Discontents, transl. S. Corcoran, Oxford: Polity Press.

Rancière Jacques (2004) The Politics of Aesthetics. The Distribution o f the Sensible, transl. G. Rockhill, London: Continuum.

Published
2019-12-29