French-language version

HARTUNG-BERGMAN FOUNDATION SEMINAR
JUNE 2011

Hartung-Bergman Foundation

Philip Nord
Democratic Art in Action

PREVIOUS LETTERS THE INFLUENCE OF THE SAINT-SIMONIANS AND THE IDEA OF ART IN THE VANGUARD OF THE SOCIAL REFORM BODY MORALITY DANDIES The Model Child THE BEAUTIFUL AND THE USEFUL Photographs by amateurs The market, at the start art in the republic the voyage of the avant-gardes Major exhibitions WHAT IS SOCIAL ART ? PRIMITIVISMS realisms JOSEPH BEUYS : A SHAMAN's FACTORY ? the Artist and the philosopher appropriations THE OPACITIES OF THE TECHNOLOGY Alternatives to the art market in new york genius PREHISTORIES POSTWAR MONEY Icons THE POWER OF ARTISTS values in formation nominalism ANCIENT ROME ON EVALUATION NEW SOVIET FASHIONS KLEINIAN ECONOMICS POLICIES OF THE REAL TOCQUEVILLE AND THE ARTS IN DEMOCRACY an elitist aesthetic for everyone The artist as teacher The equal of history passion for philosophy and passion for equality in the age of the enlightenment

 
   

     We know of Philip Nord’s impressive work on twentieth-century France, but less well do we know of his interest in art.  Here, he takes two examples drawn from different eras–late nineteenth-century Impressionism and the post-1945 decentralization of French theater—in order to clarify the terms and conditions for “democratic art.” Such art, which broke with all that preceded it, was in turn to be overtaken by new, more elitist and revolutionary conceptions.