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By Renee C. Hoogland

Rather than asking questions about the symbolic that means or underlying “truth” of a piece of artwork, renée c. hoogland is anxious with the particular “work” that it does on the planet (whether deliberately or not). Why will we locate ourselves in tears in entrance of an summary portray? Why perform a little cartoons of the prophet Muhammad generate world wide political outrage? What, in different phrases, is the compelling strength of visible photographs, even—or especially—if they're nonfigurative, repulsive, or downright “ugly”? instead of describing, studying, and examining artistic endeavors, hoogland ways paintings as an occasion that obtains at the point of actualization, proposing “retellings” of particular creative occasions within the mild of modern interventions in aesthetic thought, and offering to conceive of the cultured come across as a almost certainly disruptive, if now not violent, strength box with fabric, political, and sensible consequences.

“Arguing on behalf of the undefinable affective responses produced by means of photos, A Violent include posits that reactions to paintings are usually not merely politically invaluable and aesthetically insightful, yet that they take us past the boundaries of formal research, feedback, semiotics, and regularly occurring expectancies. This publication is vital to people who are engaged in debates approximately electronic and visible tradition, artwork, and have an effect on theory.” —Judith Roof, Rice University

“Provocative, insightful, and eloquent, hoogland engages her reader within the reconceptualization of latest tradition as an instantaneous and embodied event. Writing with a feeling of urgency and conviction, hoogland deals relocating discussions of up to date artwork: from Louise Bourgeois’s sculpture to pictures of Detroit as nonetheless existence. becoming a member of the transforming into variety of critics whose frustrations with the bounds of ideological critique have led them towards theories of impact, occasion, and stumble upon, this booklet presents a necessary addition for all these pressured via this gearshift in serious theories of artwork and culture.” —Jackie Stacey, The college of Manchester

“In this pretty and pressing publication, renee hoogland proposes a brand new, radical (and even militant) aestheticism, one who is healthy for the twenty first century. we are living in a time "after representation," while photos don't easily depict or confer with gadgets, yet have an uncanny lifetime of their very own. A Violent embody takes complete account of this unusual, spectral power, and mobilizes it within the curiosity of a higher lifestyles to come.”—Steven Shavir, DeRoy Professor of English, Wayne nation University

“[A] not easy and provocative study.” —ARLIS/NA, paintings Libraries Society of North the US

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S. presidential elections — equals the unpredictability of economic developments in high capitalism, as reflected in the recent “credit crunch,” the démasquée of mortgage bankers, and/or the fall of the Detroit automobile industry. In both realms, it is affect that seems to produce the most powerful effects, over and above the power of politics and economics themselves. Image reception is deeply enfolded in the domain of affect that is virtually everywhere: the ways blocs of affect shift into potential actualization are increasingly utilized by both the reactive and liberatory apparatuses through which they are relayed.

Through a series of recent visualizations of Detroit’s ruins — a site somewhere between the beautiful and the sublime — Julia Reyes Taubman’s monumental collection of photographs called Detroit: 138 Square Miles, I explore the productive power of non-narrative in the polyvalent visual presentation of a city that is both more and less than the sum of its aesthetically 18 A Viol e nt E mbr ace compelling visualizations. Arguing against the dismissals of contemporary “ruin porn” — as mere nostalgia for modernity or as a displacement of underlying social issues — the chapter traces Western culture’s fascination with ruins to its current postindustrial moment to foreground the pictorial surface of the pictures of Detroit’s ruins as a site that brings about consciousness, functioning as an event of partial becoming, which in its turn extends the question of the operational force of the aesthetic as such.

The central concern with “the new,” which the two thinkers share in common,25 furthermore unmistakably identifies the poietic function of art — that is to say, poiesis in the Heideggerian sense of a “bringing-forth,” or a threshold occasion, a moment when something shifts from where, what, and how it was, to become another — in the reality of the aesthetic fact. Transformation, change, novelty, all require the contingent, messy, and open experience of the world — and of ourselves, an equally messy process in which art, when it is truly creative, plays a constitutive, if indeterminate and ultimately indeterminable, role.

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