global conceptualism revisited

How, then, should one explain the fact that the discourse of aesthetics acquired such a dominant position during the period of modernity? The main reason for this is a statistical one. Artists were a social minority during the eighteenth and nineteenth centuries, the founding period of aesthetic discourse—and spectators were in the majority. The question of why one might make art seemed irrelevant—artists made art to earn their living. This seemed an adequate explanation for the existence of the arts. The problem was why other people should look at art. The answer was: to form their taste and develop their aesthetic sensibility. Art was a school for the gaze and other senses. The social division between artists and spectators seemed to be firmly established: spectators were subjects of an aesthetic attitude—artworks produced by artists were objects of aesthetic contemplation. But from the beginning of the twentieth century, this simple dichotomy began to collapse.

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