Sublime

The art of the past no longer exists as it once did. Its authority is lost. In its place there is a language of images. What matters now is who uses that language for what purpose. This touches upon questions of copyright for reproduction, the ownership of art presses and publishers, the total policy of public art galleries and museums. As usually

showing all Mubarak all the time, by the 2000s had access to more than 400 national and international stations. American movies,

Perversely, irony relies on some remains of cultural capital in order to coherently express its destructive message. If elevated beyond commentary and analysis to its own pedestal of artistic value, its essence become desacralization and the making trite of deep truths we might prefer to respect and conserve.

that anything could be validated as long as one could find the correct strategies for getting and holding the attention of the media. In art, this became aggravated by the sudden rush of art investment – not yet the mania it would become in the seventies, but large enough nearly to abolish, for a time, the idea that an artist’s thought and performa

This is why television is a crucial and adaptable part of a relatively long transition (or changing of the guard), lasting several decades, between a world of older disciplinary institutions and one of 24/7 control.

So the drift away from encouraging the new art began well before Lenin’s burial; whereupon Stalin made anything that was not mass art a State crime. In his eye, the Constructivists were bourgeois formalists – specks of free imagination in the ocean of his new Russia. Some died in the purges, the rest were deprived of work by his apparatchiks; and s