Term Paper: 1809, by Adolf Loos

Pages: 2 (782 words)  ·  Bibliography Sources: 0  ·  Level: College Senior  ·  Topic: Art  (general)  ·  Buy for $19.77

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[. . .] His work is influenced by a number of other German thinkers as well. Adorno acknowledged the emancipatory potential of art through his aesthetic theory. According to this theory art offers a vision of a different world. However, it is pointed out that only the sovereign art can offer this opposition. The essay 'Functionalism Today' is Adorno's debate on the issue of architecture and reveals the inconsistency in Adolf Loo's treatment of functionalism. He argues that the purposive and purpose-free arts are logically related and cannot be treated as entirely separate. Even the purpose free art has some social purpose hidden in it which is not materialistically apparent.

…..'The absolute rejection of style', Adorno concludes famously, 'becomes itself a form of style.'

While commenting on functionalism, Loos argues that ornament cannot be regarded as a depraved product of erotic symbolism. However, Adorno comments that even the functional may attract the symbolic. In his article Adorno expresses doubt on the assumption made by Loos that while an artwork need not appeal to anyone, a house is responsible to each and everyone. He expressed discontent on the German style of reconstruction. Adorno thinks that the nature of artworks requires the essential and necessary elements to be present in them and to question the presence of unessential elements. However, the judgment of right and wrong is now to be made by itself on the basis of forthcoming logic regardless of whether it was motivated by some external logic. He further argues that in any given product, freedom from purpose and purposefulness can never be absolutely separated from one another. The two notions are historically interconnected. According to him the ornaments, after all, which Loos expulsed with an enthusiasm quite out of character, are often actually leftovers of outmoded means of production. On the other hand, Loos argues that and the philosophy in the early period of functionalism, purposeful and aesthetically autonomous products were separated from one another by absolute fact. This separation, which is in fact the object of our reflection, arose from the contemporary polemic against the applied arts and crafts. He further comments that the practical reorientation of purpose-free art would eventually subordinate it to the destructive autocracy of profit, which even arts and crafts, at least in their beginnings, had… [END OF PREVIEW]

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