Great modern art combines fragile illusion with opening to the excluded
Evidence
There were thus two closely related elements which, in Adorno’s view, were characteristic of great modern art: a growing fragility in those illusions that were still maintained, and the consequent opening afforded to what had once been excluded. Where these two elements were genuinely combined, modern art had a bitter beauty and an aggressive melancholy. — Rolf Wiggershaus, The Frankfurt School, 2725
Categorization
- corroborated: 2 independent passages support this claim — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2725
- XREF: connects to: Art promises happiness only at the cost of illusoriness — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2742; Authentic art simultaneously mirrors and rejects its historical moment. — Fredric Jameson, Marxism and Form, 882; Art is trapped between utopian longing and the charge of false comfort — Theodor W. Adorno, The Culture Industry: Selected Essays…, 66 (+5 more)
Broader Connections
- Art is trapped between utopian longing and the charge of false comfort
#qualifies(0.80) — Theodor W. Adorno, The Culture Industry, 66 - Art achieves objective revelation through subjective effort only at the cost of illusoriness
#corroborates(0.80) — Rolf Wiggershaus, The Frankfurt School, 2742 - Great art creates attentional situations, not just artifacts
#expands(0.78) — The Friends of Attention, Attensity!, 383 - Art expresses utopian harmony negatively by embodying contradictions unresolved
#expands(0.75) — Martin Jay, The Dialectical Imagination, 549 - Art’s continued existence testifies to a paradox that grounds all beauty
#expands(0.72) - A successful artwork embodies contradictions without falsely resolving them
#complicates(0.70) — Theodor W. Adorno, The Culture Industry, 51