By Renee C. Hoogland
Rather than asking questions on the symbolic that 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 will we locate ourselves in tears in entrance of an summary portray? Why perform a little cartoons of the prophet Muhammad generate world wide 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, interpreting, and reading works of art, hoogland techniques paintings as an occasion that obtains at the point of actualization, proposing “retellings” of particular creative occasions within the mild of contemporary interventions in aesthetic concept, and presenting to conceive of the classy stumble upon as a possibly disruptive, if now not violent, strength box with fabric, political, and sensible consequences.
“Arguing on behalf of the undefinable affective responses produced by way of photographs, A Violent embody posits that reactions to paintings usually are not in basic terms politically valuable and aesthetically insightful, yet that they take us past the bounds of formal research, feedback, semiotics, and usual expectancies. This booklet is key to those that are engaged in debates approximately electronic and visible tradition, paintings, 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 adventure. Writing with a feeling of urgency and conviction, hoogland bargains relocating discussions of latest paintings: from Louise Bourgeois’s sculpture to pictures of Detroit as nonetheless existence. becoming a member of the transforming into variety of critics whose frustrations with the bounds of ideological critique have led them towards theories of have an effect on, occasion, and come across, this booklet presents 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 pretty and pressing e-book, 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 energy, and mobilizes it within the curiosity of a higher lifestyles to come.”—Steven Shavir, DeRoy Professor of English, Wayne country University
“[A] demanding and provocative study.” —ARLIS/NA, artwork Libraries Society of North the USA
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Additional info for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
Image reception is deeply enfolded in the domain of affect that is virtually everywhere: the ways blocs of affect shift into potential actualization are increasingly utilized by both the reactive and liberatory apparatuses through which they are relayed. If we do not develop a cultural-theoretical vocabulary with which to think about affect, cultural studies will lose the critical momentum generated by the affective turn in its current re-emergence, in both theory and practice, both inside and outside the classroom.
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.
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.