Il drago invisibile

It was the year 1993 when Dave Hickey, the enfant terrible of art criticism, galvanised by the controversy surrounding Robert Mapplethorpe's Portfolio X exhibition, decided to launch a ferocious attack against the academic establishment by dragging a bygone theme into the spotlight: beauty.
Demonised and accused of connivance with the logic of the market, the latter had long since wandered like a spectre through the ruins of the aesthetic debate, sowing embarrassment within the new ‘therapeutic’ institutions - museums, galleries and the entire art system. Like priests of a mystery cult, following the dogmas of Greenberg and Barr, the professors had mystified artistic practice with lofty theoretical disquisitions, underpinned by a corrosive distrust of all that was loveliness and seduction, ‘beauty’ in fact.
In these four essays - more like a manifesto than a polite discussion - the Texan critic aims straight at the target and recalls how over the centuries authors such as Raphael, Caravaggio and Warhol have exploited pure form to establish an immediate relationship between the observer and the content of their images, in a democratic and liberating process.
Thirty years after its first publication in the United States, the dragon evoked by Hickey once again spreads its wings and pours forth, sparing no-one, its fiery, provocative and unfiltered prose. Completely indifferent to the antipathies it may arouse.