L’arte è una disciplina da combattimento: George Grosz e Günther Anders

The essays on Aesthetics of philosopher Günther Anders are still almost unknown; for his part, painter George Grosz’ production from the 1930s and during his American exile has been mainly despised by art historians. Both Anders and Grosz considered themselves as holding up an unmerciful mirror to s...

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Main Author: Rosanna Gangemi
Format: Article
Language:English
Published: Milano University Press 2021-08-01
Series:Itinera
Subjects:
Online Access:https://riviste.unimi.it/index.php/itinera/article/view/16111
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author Rosanna Gangemi
author_facet Rosanna Gangemi
author_sort Rosanna Gangemi
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description The essays on Aesthetics of philosopher Günther Anders are still almost unknown; for his part, painter George Grosz’ production from the 1930s and during his American exile has been mainly despised by art historians. Both Anders and Grosz considered themselves as holding up an unmerciful mirror to society. The aim of this paper is to offer an analysis on the short but poignant texts which Anders wrote on Grosz’ artistic research, providing some of the most vitriolic social criticism of his time. The studies of Anders show unpredicted connections, unveiling in an unprecedented way the deep unity of Grosz’ wide œuvre marked by an absolute pessimism, and therefore particularly near to the philosopher’s “negative ontology”. Moreover, these texts raise key questions concerning modern art itself which are still central in our time, among others: the political engagement of artists, their relationship with the market, and their clairvoyance, the ethical use of montage practice, and the thin line between life and art.
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spelling doaj.art-6db22e268805469e8dca5c255b3f31452023-09-02T08:58:38ZengMilano University PressItinera2039-92512021-08-0121L’arte è una disciplina da combattimento: George Grosz e Günther AndersRosanna Gangemi0Université Sorbonne Nouvelle Paris 3The essays on Aesthetics of philosopher Günther Anders are still almost unknown; for his part, painter George Grosz’ production from the 1930s and during his American exile has been mainly despised by art historians. Both Anders and Grosz considered themselves as holding up an unmerciful mirror to society. The aim of this paper is to offer an analysis on the short but poignant texts which Anders wrote on Grosz’ artistic research, providing some of the most vitriolic social criticism of his time. The studies of Anders show unpredicted connections, unveiling in an unprecedented way the deep unity of Grosz’ wide œuvre marked by an absolute pessimism, and therefore particularly near to the philosopher’s “negative ontology”. Moreover, these texts raise key questions concerning modern art itself which are still central in our time, among others: the political engagement of artists, their relationship with the market, and their clairvoyance, the ethical use of montage practice, and the thin line between life and art.https://riviste.unimi.it/index.php/itinera/article/view/16111George Grosz, Günther Anders, Man without World, World without Man
spellingShingle Rosanna Gangemi
L’arte è una disciplina da combattimento: George Grosz e Günther Anders
Itinera
George Grosz, Günther Anders, Man without World, World without Man
title L’arte è una disciplina da combattimento: George Grosz e Günther Anders
title_full L’arte è una disciplina da combattimento: George Grosz e Günther Anders
title_fullStr L’arte è una disciplina da combattimento: George Grosz e Günther Anders
title_full_unstemmed L’arte è una disciplina da combattimento: George Grosz e Günther Anders
title_short L’arte è una disciplina da combattimento: George Grosz e Günther Anders
title_sort l arte e una disciplina da combattimento george grosz e gunther anders
topic George Grosz, Günther Anders, Man without World, World without Man
url https://riviste.unimi.it/index.php/itinera/article/view/16111
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