Abstract
There is such a great discrepancy between art and the recent atrocities … that art is condemned to cynicism. Even when it addresses them, it tends to divert attention from them… At present, all works of art including radical ones have a conservative tinge, for they help reinforce the existence of a separate domain of spirit and culture whose practical impotence and complicity with the principle of unmitigated disaster are painfully evident.1
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Notes
T. Adorno, Aesthetic Theory (London: Routledge and Kegan Paul, 1986) p. 333.
H. Geldzahler, New York Painting and Sculpture 1940–70 (London: Pall Mall Press, 1969) p. 15.
L. Lippard, ‘James Rosenquist: Aspects of a Multiple Art’, Changing: Essays in Art Criticism (New York: Dutton, 1971) p. 91.
R. J. Lifton, Home from the War: Vietnam Veterans Neither Victims nor Executioner (London: Wildwood House, 1974) p. 271.
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© 1989 Editorial Board, Lumiere (Co-operative) Press Ltd
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Aulich, J. (1989). Vietnam, Fine Art and the Culture Industry. In: Walsh, J., Aulich, J. (eds) Vietnam Images: War and Representation. Insights. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-19916-7_5
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DOI: https://doi.org/10.1007/978-1-349-19916-7_5
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