예술의 사물화 비판과 예술의 공공성 - 아도르노와 듀이의 가상적 대화 -

Abstract

The purpose of this paper is to analyze the hypothetical account of publicness of art in the light of Adorno’s critique of fetishism and Dewey’s publicness of art, then consider whether there could be any possibility of bridge linking between Adorno’s and Dewey’s. According to Adorno’s perspective on Logic and modalities of ‘entkunstung, outside of art’ in music and arts, the publicness of art would not been established unless it could fulfill a number of conditions at an aesthetic and social dimension. Whereas, A concept of art as experience suggested by Dewey might be empty if it could be controlled by the risk of fetishism. They take clearly different hypothetical positions in evaluating pop Art and public art The normative requests that both Adorno and Dewey ask in a different context should be meaningful only when it is closely combined with detailed strategy and execution as phronesis. The possibility of ‘bridge linking’ that could link Adorno’s pessimistic view with Dewey’s optimistic position on publicness of art would be found in the strained-cooperation artist, production of art, art market law for art-democracy, art related organization, art world, art administration and art the subject of art enjoyment.