By Renee C. Hoogland
Rather than asking questions about the symbolic that means or underlying “truth” of a piece of artwork, 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 globe political outrage? What, in different phrases, is the compelling strength of visible photographs, 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 contemporary interventions in aesthetic concept, and featuring to conceive of the classy come across as a most likely disruptive, if no longer violent, strength box with fabric, political, and sensible consequences.
“Arguing on behalf of the undefinable affective responses produced via pictures, A Violent include posits that reactions to paintings aren't merely politically priceless and aesthetically insightful, yet that they take us past the boundaries of formal research, feedback, semiotics, and regularly occurring expectancies. This e-book 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 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 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 booklet offers an essential addition for all these forced via this gearshift in severe theories of paintings and culture.” —Jackie Stacey, The collage 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 photographs don't easily depict or consult 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] 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)
Second, to propose the classical procedure of ekphrasis as a possible model of aesthetic inquiry that allows us to do justice to the aesthetic on its own terms without abandoning or losing 17 I nt rod u ction sight of the ethical operations of a given artwork. The chapter concludes with a comparative exercise in ekphrasis, extending the notion of the aesthetic encounter as a form of partial becoming through a discussion of a several drawings by Kathleen Henderson and a series of Richard Barnes’s photographs.
Decisions about the “value” of artworks, about their function in the activity of aesthetic creation, furthermore, are never final, or finalizable, because there is always a certain indeterminacy about such decisions, depending on the “subjective form,” on the way the object is perceived or felt by the observer. Whereas art acquires its necessary place in life from its transformational potential, from the ways the encounter with an artwork is something that actively happens to us, an event that constitutes us anew as subjects, an ambivalent, dynamic event that enables novelty per se, such decisions — or aesthetic “judgments” — on the contrary, are not, nor are they universal.
While I argue for an understanding of the operations of all cultural expression as an embodied/embedded affective event, my aim in this chapter is to foreground the singularity of any given artistic encounter in its irreducibility to object or form. I develop my approach to art in its historical and sociocultural specificity as a site of experience that exceeds the determination and the materiality of objects while remaining rooted in the world because it only obtains in its affective, material, singular actualization.