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 anxious 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 around the globe 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, examining, and examining artistic endeavors, hoogland techniques artwork as an occasion that obtains at the point of actualization, providing “retellings” of particular inventive occasions within the gentle of modern interventions in aesthetic thought, and offering to conceive of the cultured come upon as a most likely disruptive, if now not violent, strength box with fabric, political, and functional consequences.
“Arguing on behalf of the undefinable affective responses produced by means of photographs, A Violent include posits that reactions to paintings should not merely politically helpful and aesthetically insightful, yet that they take us past the bounds of formal research, feedback, semiotics, and usual expectancies. This ebook is vital 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 a right away and embodied event. Writing with a feeling of urgency and conviction, hoogland deals relocating discussions of up to date paintings: from Louise Bourgeois’s sculpture to pictures of Detroit as nonetheless lifestyles. becoming a member of the turning out to be variety of critics whose frustrations with the boundaries of ideological critique have led them towards theories of impact, occasion, and come across, this e-book offers a necessary addition for all these forced via this gearshift in severe theories of paintings 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, one who is healthy for the twenty first century. we are living in a time "after representation," while pictures don't easily depict or discuss with 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 nation University
“[A] difficult and provocative study.” —ARLIS/NA, artwork Libraries Society of North the United States
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Additional resources for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
If, as Shaviro argues, an “act of feeling is an encounter — a contingent event, an opening to the outside — rather than an intrinsic, predetermined relationship,” and if feeling “changes whatever it encounters” (WC, 63), it follows that all entities in the affective event are subject to change, opening onto novelty and to the future. To the extent that any entity exists in its relations to other entities and that it is affected by these relations, an existence of its own may thus be attributed to that which Whitehead calls an “objective datum,” but such existence is never 31 Art i s t ic Act i vi t y fully determined: both present and past relations have and continue to inform it, to affect it, and to be affected by it.
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.
1 Seth Papac, Iris Jewelry Portrait, necklace, 2009. Diamonds, burl wood, silver, velvet ribbon, 28 × 15 × 10 cm. © Seth Papac Fig. 2 Katie MacDonald, Wash, 2007. Silver, pigskin, nylon, 5 × 16 × ¼ in. © Katie MacDonald 35 Art i s t ic Act i vi t y tions. While undeniably the result of processes of making and doing, objects of the latter kind, so-called fashion or costume jewelry, do not constitute processes of making and doing in the sense Bakhtin allows us to perceive in the aesthetic event proper; they do not, in other words, serve poietic functions themselves.
A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture) by Renee C. Hoogland