DONALD KUSPIT THE END OF ART PDF

Candan rated it it was amazing Dec 24, Jacquelyn rated it really donxld it May 29, Journal of Aesthetics and Art Criticism 63 1: The exclusivity and spiritual purity handed down to it from critics on high soon wore thin. On this front, taste became a kind of existential necessity, and autonomy and purity became a consuming concern. When did visual art lose its visual power? Thanks for telling us about the problem.

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Doug Harvey January 27, When critics, gallerists, curators or artists get their knickers in a knot over the need to promote traditional — generally figurative — art as an antidote to the rising tide of decadent, superficial, sensationalist hucksterism, they are relegating themselves to crackpot status.

Nor is it merely the fact that they are swimming against the tide of Modernism with its utopian sense of inevitability and its flagship aesthetic of reductive minimalism. What truly isolates them is the siege mentality with which they declare their dedication to representational craftsmanship, a passionate testifying that is out of place in the convivial social whirl of the art marketplace. Sixty-something New York based art critic Donald Kuspit, never a cheerleader for Postmodern avant-gardisms, forged what may be the masterpiece of contrary art appreciation with his book The End of Art.

Beginning the notorious incident a couple of years ago where an installation by U. Abstract Expressionism and color-field-painting Grand Poo-Bah Barnett Newman is written off for his equal but opposite disengagement from the sensual world.

Kuspit can hardly be described as an art-world outsider, though. A contributing editor to Artforum and several other major art magazines, professor of art history and philosophy at SUNY Stony Brook, and the author of a score of books as well as the official Encyclopedia Britannica entry on art criticism, Kuspit is more of an insider than most Duchamp scholars will ever be. Marketing and Promotions, Gallery C is an impressive if somewhat arbitrary attempt to make Hermosa a satellite hot spot to L.

Scott Hess, Sandow Birk and Masami Teraoka have established idiosyncratic careers in the mainstream scene with their respective spins on various art-historical narrative traditions.

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