By Renee C. Hoogland
Rather than asking questions about the symbolic that means or underlying “truth” of a piece of paintings, renée c. hoogland is anxious 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 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, studying, and studying works of art, hoogland techniques artwork as an occasion that obtains at the point of actualization, featuring “retellings” of particular inventive occasions within the gentle of modern interventions in aesthetic thought, and offering to conceive of the classy stumble upon as a almost certainly 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 artwork usually are not in simple terms politically precious and aesthetically insightful, yet that they take us past the bounds of formal research, feedback, semiotics, and common expectancies. This publication 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 latest tradition as an instantaneous 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 images of Detroit as nonetheless lifestyles. becoming a member of the becoming variety of critics whose frustrations with the boundaries of ideological critique have led them towards theories of impact, occasion, and stumble upon, this booklet offers an essential addition for all these pressured via this gearshift in serious theories of paintings and culture.” —Jackie Stacey, The college of Manchester
“In this gorgeous and pressing ebook, 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 photographs don't easily depict or check with items, yet have an uncanny lifetime of their very own. A Violent embody takes complete account of this unusual, spectral power, and mobilizes it within the curiosity of a higher existence to come.”—Steven Shavir, DeRoy Professor of English, Wayne kingdom University
“[A] demanding and provocative study.” —ARLIS/NA, artwork Libraries Society of North the USA
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Extra info for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
In the concluding chapter, “Lines of Flight and the Emergence of the New,” I bring the various theoretical strands and arguments developed in the preceding chapters together to propose an affirmative and materialist attitude to contemporary art and to posit art as a “project” with multiple levels of implications: scholarly, pedagogical, and sociopolitical. I do so by first elaborating on Deleuze’s and Whitehead’s respective notions of the “event” from within their shared neovitalist focus. ” My concluding suggestion is that art and aesthetic activity are as essential for change for the new as they are for the invention of sustainable modalities of being on both individual and collective levels, now and in worlds yet to come.
The misguided reliance upon scientific thinking in the domain of art study, he continues, is in the final analysis the result of a “common transgression of the study of art in all its branches, committed in the very cradle of this discipline: a negative attitude to general aesthetics, a rejection in principle of the guiding role of general aesthetics” (“CMF,” 258–59). In line with Kant’s attempts a century earlier to found a general systematic aesthetics, Bakhtin’s problematization of the three topics listed in the title of “Supplement” — content, material, form — therefore centers on the “aesthetic object” in general terms, on the aesthetic “in its distinctness of the cognitive and the ethical as well as in its interconnectedness within the unity of culture” (“CMF,” 259).
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.