Übersetzung für "Hochkunst" in Englisch

And what role does the public play in this presentation of "high art," which ultimately follows Western European models, and how can they bring in their stories and perspectives?

The creative use of textile forms has always been an important aspect in the everyday lives and work of artists, but usually considered a craft and as such distinguished from so-called high art.

With a simple gesture, Trockel entered into a correspondence with Kasimir Malevich's Suprematism and, at the same time, ironically transferred the female domain of cooking into the realm of high art: her "Oven Pictures" are nothing more than black stove plates on a white porcelain background mounted vertically on the wall – a direct reference to Malevich's ideal form of the circle.

She turned against both a bourgeois “valorization” of popular culture through high art, as well as against the obligation of black writers to place their work at the service of race politics.

She defended the social power of popular language (dialect) and the creativity of the authentic artistic and popular culture practices, against their malapropism in both white and black genre art as well as against their elevation to high art.

The pivotal moment in this development was Warhol's pioneering use of the silkscreen printing process in the early 1960s, which profoundly undermined the hitherto clear distinction between high art and commercial art, not to mention the question of original versus copy.

She turned against both a bourgeois “valorization of popular culture through high art, as well as against the obligation of black writers to place their work at the service of race politics.

She turned against both a bourgeois "valorization" of popular culture through high art, as well as against the obligation of black writers to place their work at the service of race politics.

Since the 1970s, a state-fi nanced liaison between advanced and contemporary high art and social commitment provided the fruitful ground for artistic positions and even entire art movements that would have found it almost impossible to compete in any international market environment.

Symbols of family, social and religious institutions appear in her pictures in the guise of classical European art, religious art, folk art and modern pop art and are ironically queried or presented in the form of parody, often with caustic humour.

The „movement“ of the ROSTA windows, which only lasted three years, represents an intersection between high art and advertising graphics, whose point was the communicative content, to reach the population, many of whom were illiterate.

Like a flaneur, in her art Dengler slides between various social spheres and aesthetic codes, and she pointedly articulates the lived contradictions between Austrian nostalgia and advanced high art, the stiff mentality of public offi ce and subjective eccentricity.

As a result, Warhol ended up simultaneously becoming the darling of high art and mass taste, auctions and subculture.

It also creates a relation between major works of applied arts effectively covered in the media, such as caricatures, comics, photography and poster art with the so-called advanced art.

The noticeable carelessness about spreading the ink out evenly, barely cleaning the screen, and accepting crooked prints shares the same aesthetic function as the decontextualization of the clippings and their phototechnical ‘corruption.’ The original images lose their journalistic-documentary value and instead gain that ambivalent surface that marks the works as high art.