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.

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 (...) economy’, variously labeled the creative, the cultural or the aesthetic economy. In my paper I want to compare and contrast these two opposed images of bohemia – the 19th-century idea of bohemia as the libertarian other of liberal-bourgeois society and the new, highly topical economic geography of bohemia – with the following questions in mind: How and why does the 19th-century artistic critique of capitalism mutate into an expression of the new spirit of capitalism? Does this change from an antagonistic to an affirmative relationship signal the emergence of a new spirit of art that can be related to the new spirit of capitalism? (shrink)