By Renee C. Hoogland
Rather than asking questions on the symbolic which means or underlying “truth” of a piece of paintings, renée c. hoogland is worried with the particular “work” that it does on this 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 around the world political outrage? What, in different phrases, is the compelling strength of visible photos, even—or especially—if they're nonfigurative, repulsive, or downright “ugly”? instead of describing, interpreting, and reading artistic endeavors, hoogland techniques paintings as an occasion that obtains at the point of actualization, featuring “retellings” of particular creative occasions within the gentle of contemporary interventions in aesthetic idea, and presenting to conceive of the classy come upon as a probably disruptive, if now not violent, strength box with fabric, political, and sensible consequences.
“Arguing on behalf of the undefinable affective responses produced by way of pictures, A Violent embody posits that reactions to artwork will not be simply politically helpful and aesthetically insightful, yet that they take us past the bounds of formal research, feedback, semiotics, and favourite expectancies. This e-book 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 up to date tradition as an instantaneous and embodied event. Writing with a feeling of urgency and conviction, hoogland bargains relocating discussions of latest artwork: from Louise Bourgeois’s sculpture to pictures of Detroit as nonetheless lifestyles. becoming a member of the transforming into variety of critics whose frustrations with the boundaries of ideological critique have led them towards theories of have an effect on, occasion, and come across, this e-book presents an essential addition for all these forced by means of this gearshift in severe theories of artwork and culture.” —Jackie Stacey, The college of Manchester
“In this gorgeous and pressing publication, renee hoogland proposes a brand new, radical (and even militant) aestheticism, person who is healthy for the twenty first century. we are living in a time "after representation," whilst photographs don't easily depict or check with gadgets, yet have an uncanny lifetime of their very own. A Violent include 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 country University
“[A] not easy and provocative study.” —ARLIS/NA, artwork Libraries Society of North the USA
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Extra resources for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
5 As suggested in the introduction, by positing a certain specificity for different forms of art, I am not at all interested in defining or demarcating particular realms of contemporary art, for such definitions and demarcations are obviously culturally and historically specific, hence subject to change. My engagement with neo-aesthetic theory arises from my interest in what art does or does not do in 21 Art i s t ic Act i vi t y the world on the level of subjective experience, in grasping its operations in their specificity, qua art, and thus in approaching particular artworks as force fields distinct from perceptual and sensual phenomena not so defined in a given culture at a certain moment in history.
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. ” The awkward phrase “modern/art jewelry” serves to distinguish its practice and products from the more commercial and mass-produced objects of fashion jewelry. ) It is nonetheless difficult to differentiate, at least in traditional art historical terms, works of “modern jewelry” as particular kinds of artworks from the products of its “monologic” counterpart, which, as precious objects, largely serve decorative, ornamental func- Fig.
Bakhtin rejects the program of “materialist aesthetics,” which he believes cannot but result in the separation of content from form and lead to an ambitious systematicity that fails to do justice to the specificity of any artwork’s unique effects in the real world, as well as entail the spurious isolation of art from life. The error of judgment founding the formalist project, Bakhtin argues, is not only its proponents’ failure to engage philosophical aesthetics, their disregard of the need to develop a “general systematic aesthetics,” but also, in their near-exclusive preoccupation with the materiality of form, to first separate “real life” material from art, and second, to assume that a “scientific” method means to isolate things.
A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture) by Renee C. Hoogland