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  1. From the cultural contradictions of capitalism to the creative economy.David Roberts - 2012 - Thesis Eleven 110 (1):83-97.
    The geography of contemporary bohemia is integral to Richard Florida’s thesis of the rise of a new creative class in the USA. The strong correlation between the presence of bohemians and innovative high-tech industries in a number of American cities stands in sharp contrast to the historical image of a bohemian subculture of artists and intellectuals, defined by their antagonistic relationship to bourgeois society. Rather than a sign of social marginality, bohemian life-styles have now become a marker of the ‘new (...)
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  • Art After Deskilling.John Roberts - 2010 - Historical Materialism 18 (2):77-96.
    The absence of would-be palpable skills in contemporary and modern art has become a commonplace of both conservative and radical art-criticism. Indeed, these criticisms have tended to define where the critic stands in relation to the critique of authorship and the limits of ‘expression’ at the centre of the modernist experience. In this article, I am less interested in why these criticisms take the form they do – this is a matter for ideology-critique and the sociology of criticism and audiences (...)
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  • Liberal feminism, from law to art: The impact of feminist jurisprudence on feminist aesthetics.L. Ryan Musgrave - 2003 - Hypatia 18 (4):214-235.
    : This essay explores how early approaches in feminist aesthetics drew on concepts honed in the field of feminist legal theory, especially conceptions of oppression and equality. I argue that by importing these feminist legal concepts, many early feminist accounts of how art is political depended largely on a distinctly liberal version of politics. I offer a critique of liberal feminist aesthetics, indicating ways recent work in the field also turns toward critical feminist aesthetics as an alternative.
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  • Liberal Feminism, from Law to Art: The Impact of Feminist Jurisprudence on Feminist Aesthetics.L. Ryan Musgrave - 2003 - Hypatia 18 (4):214-235.
    This essay explores how early approaches in feminist aesthetics drew on concepts honed in the field of feminist legal theory, especially conceptions of oppression and equality. I argue that by importing these feminist legal concepts, many early feminist accounts of how art is political depended largely on a distinctly liberal version of politics. I offer a critique of liberal feminist aesthetics, indicating ways recent work in the field also turns toward critical feminist aesthetics as an alternative.
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