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 planet (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 pictures, even—or especially—if they're nonfigurative, repulsive, or downright “ugly”? instead of describing, reading, and analyzing works of art, hoogland techniques artwork as an occasion that obtains at the point of actualization, providing “retellings” of particular inventive occasions within the mild of modern interventions in aesthetic idea, and providing to conceive of the cultured stumble upon as a in all likelihood disruptive, if no longer violent, strength box with fabric, political, and sensible consequences.
“Arguing on behalf of the undefinable affective responses produced through pictures, A Violent embody posits that reactions to artwork are usually not purely politically important and aesthetically insightful, yet that they take us past the bounds of formal research, feedback, semiotics, and popular expectancies. This booklet is vital to people who 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 bargains relocating discussions of up to date artwork: from Louise Bourgeois’s sculpture to pictures of Detroit as nonetheless lifestyles. becoming a member of the growing to be variety of critics whose frustrations with the boundaries of ideological critique have led them towards theories of impact, occasion, and stumble upon, this publication offers an important addition for all these pressured by means of this gearshift in serious theories of paintings and culture.” —Jackie Stacey, The college of Manchester
“In this gorgeous and pressing e-book, 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 photos don't easily depict or confer with items, 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 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
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Extra resources for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
M. ” An author-creator does not exist prior to the work, Bakhtin submits, but acquires his or her “positively subjective creative personality” only in art, in creation (“CMF,” 316). ” The aesthetic object is hence for Bakhtin not a thing, but, in its distinctiveness, rather has the “character of an event,” a “realized, distinctive event of the action and interaction of creator and content” in which the reader-recipient feels herself as an “active subiectum,” as a “necessary constitutive moment” (“CMF,” 317).
Tate Gallery, London. Purchased with assistance from the Friends of the Tate Gallery 1999. © 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.
Instead, I posit a neo-aesthetic as a specific, transgressive, disorganizing, if not deterritorializing force the ethical implications of which are neither pregiven nor unambivalent. For if we follow the Russian philosopher in conceiving the aesthetic event as an activity, as an act of processual co-creation mutually realized by the author-creator and the reader-recipient, and if, furthermore, artistic creation per se is not so much an embodied as an embodying activity, and, finally, if it is clear that the reader-recipient similarly only comes into corporeal being through her or his participation in this event, by actively partaking in the “organized activity” that constitutes artistic creation, such activity equally entails the possibility, if not the inevitability, of the undoing, of the unbecoming of previously existing embodied selves, and therewith of a becoming anew.
A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture) by Renee C. Hoogland