By Renee C. Hoogland
Rather than asking questions about 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 the earth (whether deliberately or not). Why can we locate ourselves in tears in entrance of an summary portray? Why do a little cartoons of the prophet Muhammad generate all over the world 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, examining, and studying works of art, hoogland techniques paintings as an occasion that obtains at the point of actualization, proposing “retellings” of particular creative occasions within the gentle of modern interventions in aesthetic thought, and providing to conceive of the classy come across as a very likely disruptive, if now not violent, strength box with fabric, political, and useful consequences.
“Arguing on behalf of the undefinable affective responses produced by way of pictures, A Violent embody posits that reactions to paintings should not basically politically invaluable and aesthetically insightful, yet that they take us past the bounds of formal research, feedback, semiotics, and common expectancies. This booklet is key to those that are engaged in debates approximately electronic and visible tradition, artwork, and impact 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 deals relocating discussions of latest artwork: from Louise Bourgeois’s sculpture to images of Detroit as nonetheless existence. becoming a member of the becoming variety of critics whose frustrations with the bounds of ideological critique have led them towards theories of impact, occasion, and stumble upon, this e-book offers a necessary addition for all these pressured by way of this gearshift in severe theories of paintings and culture.” —Jackie Stacey, The college of Manchester
“In this pretty and pressing booklet, 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 seek advice from gadgets, yet have an uncanny lifetime of their very own. A Violent include takes complete account of this unusual, spectral energy, and mobilizes it within the curiosity of a higher existence to come.”—Steven Shavir, DeRoy Professor of English, Wayne country University
“[A] demanding and provocative study.” —ARLIS/NA, artwork Libraries Society of North the US
Read or Download A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture) PDF
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Additional resources for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
Which arises on the boundaries of a work by overcoming its material — extraaesthetic — determinateness as a thing” (“CMF,” 297), but also invite us to consider the specificity of different kinds of aesthetic events in their differentiated material effects/affects. In this chapter, I wish first to more generally reflect on aesthetic activity, and second, to briefly dwell on two alternative modes of artistic creation, respectively, music, as perhaps the most apparently disembodied form, and in the final section, the intrinsically body-related art of modern jewelry.
On the contrary, for Bakhtin, the constitutive, embodying force of artistic form becomes productive only as an “actuality of a special, purely aesthetic order” (“CMF,” 315). At once pointing up the subjectivating operations of aesthetic creation and the differentia specifica of art as activity, his reflections thus not only allow us to conceive of the aesthetic object as a “completely new ontic formation . . which arises on the boundaries of a work by overcoming its material — extraaesthetic — determinateness as a thing” (“CMF,” 297), but also invite us to consider the specificity of different kinds of aesthetic events in their differentiated material effects/affects.
This distinction in evaluation was first formally called into question at the turn of the twentieth century when the Arts and Crafts movement in Britain and elsewhere, in the wake of the Industrial Revolution, sought to elevate the status of craftsmanship and the “decorative” arts and to expand the application of the aesthetic criterion hitherto reserved for the “fine” arts to include the 33 Art i s t ic Act i vi t y “vernacular” forms of the creative practices of craft and design. Writing against this background, and against that of an emerging avant-garde modernist movement that would equally, and perhaps even more fundamentally, call into question all classical distinctions and appreciations of art forms and genres, Bakhtin and Whitehead, each in his own way, and to divergent purposes, appear to respond — whether deliberately or not — to these developments by effectively foregrounding precisely those aspects of aesthetic activity that obtain in the sensual and perceptual body in its entirety, that is, on the prepersonal and presubjective level of affect, and thus provide a philosophical framework in which to place contemporary developments in the world of art and craft at large.