By Renee C. Hoogland
Rather than asking questions about the symbolic which means or underlying “truth” of a piece of artwork, renée c. hoogland is worried with the particular “work” that it does on the planet (whether deliberately or not). Why can 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 photographs, even—or especially—if they're nonfigurative, repulsive, or downright “ugly”? instead of describing, examining, and analyzing works of art, hoogland ways paintings as an occasion that obtains at the point of actualization, proposing “retellings” of particular inventive occasions within the gentle of contemporary interventions in aesthetic idea, and offering to conceive of the classy come upon as a most likely disruptive, if now not violent, strength box with fabric, political, and sensible consequences.
“Arguing on behalf of the undefinable affective responses produced via photographs, A Violent include posits that reactions to paintings usually are not merely politically worthwhile and aesthetically insightful, yet that they take us past the bounds of formal research, feedback, semiotics, and regular expectancies. This booklet is vital to those that 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 a right away and embodied adventure. Writing with a feeling of urgency and conviction, hoogland bargains relocating discussions of up to date paintings: 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 impact, occasion, and come across, this booklet offers an essential addition for all these forced through this gearshift in serious theories of paintings and culture.” —Jackie Stacey, The college of Manchester
“In this pretty and pressing ebook, 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," while photographs don't easily depict or seek advice from gadgets, yet have an uncanny lifetime of their very own. A Violent embody takes complete account of this unusual, spectral energy, and mobilizes it within the curiosity of a higher lifestyles to come.”—Steven Shavir, DeRoy Professor of English, Wayne kingdom University
“[A] demanding and provocative study.” —ARLIS/NA, paintings Libraries Society of North the US
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Extra resources for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
This is “already the ‘subjective form’ of the prehension,” Shaviro writes, for it is the way phenomena are felt, the way the “feeling entity” interacts with other entities — which is the same as saying that being affected or changed in/by the prehension is the “very content of what it feels” (WC, 57, 59). ” Shaviro’s project in Without Criteria, at least the section I have hitherto focused on, also allows me to take Bakhtin’s notion of artistic creation as both activity and as embodying event from its primarily antiformalist, originating moment into the current one, that is, into the context of the emergent formation of a neo-aesthetics in the wake of the affective turn.
ARS, NY. Photo: Tate, London / Art Resource, NY was considered so outrageous that it was hidden from view at the 1917 exhibition of the Society of Independent Artists while it is currently established as a classic work of high modernism, if not as a landmark of twentieth-century art. To address the unpredictable, often disconcerting, yet always contingent power of art, I do not focus on artworks as mere objects of interpretation, whose meaning can be determined once and for all through careful formal and/or sociohistorical analysis.
The fact that, from the 1980s onwards, photography began moving away from its journalistic/documentary functions and was selfconsciously and deliberately made to hang in art galleries and museums — has led to an increase of theoretical interest in photography, which has not, however, resolved its controversial place in the world of art and art criticism: is it art or is it mere documentation? A focus on the photographic image as aesthetic event circumvents this fruitless discussion. The chapter investigates the ambivalence at the heart of the image — as at once representation and operation of art — by a discussion of Dijkstra’s group portraits, works that are exemplary of the recent transfiguration of art photography in that they deliberately blur the boundaries between classical traditions of painting and the formerly documentary function of the photographic apparatus.