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 anxious 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 do a little cartoons of the prophet Muhammad generate around the world 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, reading, and examining artistic endeavors, hoogland methods paintings as an occasion that obtains at the point of actualization, proposing “retellings” of particular creative occasions within the gentle of contemporary interventions in aesthetic idea, and offering to conceive of the classy come across as a possibly disruptive, if no longer violent, strength box with fabric, political, and functional consequences.
“Arguing on behalf of the undefinable affective responses produced by way of photographs, A Violent embody posits that reactions to artwork usually are not in basic terms politically worthwhile and aesthetically insightful, yet that they take us past the boundaries of formal research, feedback, semiotics, and customary expectancies. This ebook is vital to those that are engaged in debates approximately electronic and visible tradition, paintings, 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 an instantaneous and embodied adventure. Writing with a feeling of urgency and conviction, hoogland bargains relocating discussions of latest paintings: from Louise Bourgeois’s sculpture to images of Detroit as nonetheless lifestyles. becoming a member of the transforming into variety of critics whose frustrations with the bounds of ideological critique have led them towards theories of impact, occasion, and come upon, this publication offers a necessary addition for all these forced through this gearshift in serious theories of artwork and culture.” —Jackie Stacey, The collage 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 pictures don't easily depict or discuss with 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 nation University
“[A] not easy and provocative study.” —ARLIS/NA, paintings Libraries Society of North the US
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Additional info for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
Instead, I approach the encounter with an artwork as an event that, in its haecceity or “thisness,” engages us on the level of affect as much as it invites us to analyze and interpret its formal and semiotic operations. 32 Affect is not presocial (it can only happen in the world), but it is nonconscious and abstract: the experience of embodied intensity that cannot be fully captured in language, nor fully determined by form nor by the chains of signification. Perhaps the most immediately “prehensible” and never fully comprehensible example of such aesthetic intensity would be the pleasure we derive from music, which has less to do with the communication of meaning than with the way a piece of music “moves” us.
Such appearances notwithstanding, Whitehead’s notion of prehension nonetheless places newness, novelty, change, at the center of our being in the world, because the critical factor of “subjective form” in every prehension entails that the immanent (aesthetic) order of our experience is always marked by a certain indeterminacy, in the sense that the way we perceive or feel a given object is likely to be different from the way it has and will be perceived by other subjects and, moreover, from the way we feel/perceive it from one encounter to the next.
It is nonetheless difficult to differentiate, at least in traditional art historical terms, works of “modern jewelry” as particular kinds of artworks from the products of its “monologic” counterpart, which, as precious objects, largely serve decorative, ornamental func- Fig. 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.
A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture) by Renee C. Hoogland