Pop art has traditionally been the most visible visual art within popular culture because its main transgression is easy to understand: the infiltration of the low into the high . The same cannot be said of contemporary art of the 21st century, where the term Gaga Aesthetics characterizes the condition of popular culture being extensively imbricated in high culture, and vice-versa. Taking Adorno and Horkheimer’s "The Culture Industry" and Adorno’s Aesthetic Theory as key touchstones, this book explores the dialectic of high and low that forms the foundation of Adornian aesthetics and the extent to which it still applied, and the extent to which it has radically shifted, thereby ‘upending tradition’. In the tradition of philosophical aesthetics that Adorno began with Luk cs, this explores the ever-urgent notion that high culture has become deeply enmeshed with popular culture. This is Gaga Aesthetics : aesthetics that no longer follows clear fields of activity, where fine art is but one area of critical activity. Indeed, Adorno’s concepts of alienation and the tragic, which inform his reading of the modernist experiment, are now no longer confined to art. Rather, stirring examples can be found in phenomena such as fashion and music video. In addition to dealing with Lady Gaga herself, this book traverses examples ranging from Madonna’s Madam X to Moschino and Vetements, to deliberate on the strategies of subversion in the culture industry.
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