How can we extend the analysis of the fetishizing of the work of art?

Martin Krenn: Roger Behrens

I would like to briefly cut in at this point. Perhaps we can relate the concept of the culture industry to art, even if as originally conceived it encompasses far more. To what extent does the concept implicate the production of art and the conditions for producing art? Conceptual art, performance art, socially engaged or participatory art do not sell an object in the classical sense, but are concerned with an idea, an action within a specific timeframe, a space of communication or the possibility as a viewer to actively take part in the creation of a work of art. Is Adorno’s understanding of the social function of music or art as a commodity only concerned with the work, which circulates commodity-like in the music or art market, or can the concept of the culture industry be extended to encompass the other aforementioned areas?

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