| Grant.H Kester is one of the important art critics and theorists in the field of Social participatory Art in American society.His aesthetic views originated in the discussion context of "The Return of Beauty" in the1990 s,and took shape in 2004.His criticism is different from other critics in the same field and has a very strong sense of the specific social reality.This paper summarizes his criticism as social participatory criticism.This paper studies the source and application of Kester’s "Dialogical" perspective from three dimensions: the turn of aesthetics,representative art practice,the basic connotation of Dialogical Aesthetics and Criticism.In the early 1990s,Kester turned to criticize the transcendental aesthetic experience in Kant’s Critique of Judgment through the analysis of the division of labor and virtual reality under Post-industrial Capitalism.In front of many works of art,in fact,we can recognize a kind of political symbolism and somatic sensory aesthetics.In fact,the "non-utilitarianism" aesthetic is only the taste of a specific class perspective.When analyzing the artistic practice involved in "Dialogical Aesthetics",Kester stated the historical evolution of dialogue practice based on the concept of community and the ideological entanglement of art sponsorship system behind it;Next,Kester made two groups of comparisons.The first group of comparisons described two forms of public art,involving the problem of turning to "dialogue art".The second group compares and analyzes some important methods in dialogic art and some problems of artists speaking for the community.In the process of gradually deepening Kester’s research,he combed out a research context of inter-subjectivity communication ethics from the basic literature of aesthetics and philosophy in the 20 th century.In his own way,he derived the three key words of "Dialogical Aesthetics" from other artistic practices: Listening,Empathy and Time(Duration).On the whole,the current criticism and research status of social participatory art in China is centered on the tit for tat aesthetic views of Claire·Bishop’s "Antagonism" and Nicolas Bourriaud’s "Relationship Aesthetics",and Kester’s "Dialogical Aesthetics" seems a little lonely.The purpose of this paper is to point out the significance of Kester’s "Dialogical Aesthetics" and Social Participatory Criticism’critical methods. |
