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Author: Adnan Madani
Publisher: MIT Press
ISBN: 3956795377
Category : Art
Languages : en
Pages : 0
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Book Description
How the world—and the world of visual culture in particular—creates itself in a creative act that knows no economic return. How does the world form itself? How does it create itself as a world? And how do we understand the role of the visual in this regard? Most responses to these questions within cultural theory and visual culture refer to the rise of globalization, thus highlighting the acceleration of exchanges, the proliferation of information and communication devices, and the multiplication of globally circulated goods and images that characterize the world we live in. Visual Cultures as World Forming takes a different approach by focusing on the taking place of the world, a creative act that knows no economic return. This taking place does not lead to more proliferation of goods, additional financial exchanges, further communications, or an increase in the distribution of visual material, but leads to the continued “worlding” of the world. This approach is predominantly, but not exclusively, inspired by the work of Jean-Luc Nancy. Through a reading of his work and of some of his contemporaries both inside and outside of the Western canon, Madani and Martinon attempt to expose how the world—and the world of visual culture in particular—creates itself and the ways in which each one of us is embodying this creation without economy. Copublished with Goldsmiths, University of London
Author: Adnan Madani
Publisher: MIT Press
ISBN: 3956795377
Category : Art
Languages : en
Pages : 0
Get Book Here
Book Description
How the world—and the world of visual culture in particular—creates itself in a creative act that knows no economic return. How does the world form itself? How does it create itself as a world? And how do we understand the role of the visual in this regard? Most responses to these questions within cultural theory and visual culture refer to the rise of globalization, thus highlighting the acceleration of exchanges, the proliferation of information and communication devices, and the multiplication of globally circulated goods and images that characterize the world we live in. Visual Cultures as World Forming takes a different approach by focusing on the taking place of the world, a creative act that knows no economic return. This taking place does not lead to more proliferation of goods, additional financial exchanges, further communications, or an increase in the distribution of visual material, but leads to the continued “worlding” of the world. This approach is predominantly, but not exclusively, inspired by the work of Jean-Luc Nancy. Through a reading of his work and of some of his contemporaries both inside and outside of the Western canon, Madani and Martinon attempt to expose how the world—and the world of visual culture in particular—creates itself and the ways in which each one of us is embodying this creation without economy. Copublished with Goldsmiths, University of London
Author: Irit Rogoff
Publisher: Sternberg Press
ISBN: 9783943365399
Category : Art
Languages : en
Pages : 0
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Book Description
The contemporary art world has become more inhospitable to "serious" intellectual activity in recent years. Critical discourse has been increasingly instrumentalized in the service of neoliberal art markets and institutions, and artists are pressurized by the demands of popularity and funding bodies. Set against this context, Gavin Butt and Irit Rogoff raise the question of "seriousness" in art and culture. What is seriousness exactly, and where does it reside? Is it a desirable value in contemporary culture? Or is it bound up with elite class and institutional cultures? Butt and Rogoff reflect on such questions through historical and theoretical lenses, and explore whether or not it might be possible to pursue knowledge and value in contemporary culture without recourse to high-brow gravitas. Can certain art forms--such as performance art--suggest ways in which we might be intelligent without being serious? And can one be serious in the art world without returning to established assumptions about the high-mindedness of the public intellectual? Copublished with Goldsmiths, University of London
Author: Jorella Andrews
Publisher:
ISBN: 9783943365382
Category : Aesthetics
Languages : en
Pages : 0
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Book Description
Largely due to the "linguistic turn" that has dominated the humanities since the mid-twentieth century, many contemporary scholars and artists habitually equate works of art with highly coded texts to be deciphered, deconstructed, or otherwise interpreted. Here, meaning, value, and impact have been fundamentally linked to art's capacity to "speak," to represent, to raise questions about representation, to convey a message, or articulate a concept. Much visual culture scholarship has tried to engage with art and the image-world outside of these logics. Within this quest to consider art differently, Jorella Andrews and Simon O'Sullivan pay attention to the asignifying character of art, or simply its affective qualities. Drawing on the work of key thinkers (for O'Sullivan, the writings of Gilles Deleuze, Félix Guattari, and Jean-François Lyotard) and turning to paradigmatic works of art (for Andrews, film and video pieces by Rosalind Nashashibi and Jayne Parker), they contextualize these art-related matters in relation to a significant recent rise in new thinking about objects, objectness, and objectivity within philosophy, critical theory, and ethics. Copublished with Goldsmiths, University of London
Author: Lynn Turner
Publisher: Sternberg Press
ISBN: 9783943365405
Category : Memory in art
Languages : en
Pages : 0
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Book Description
Memory has become a major preoccupation in the humanities in recent decades, be it individual and collective memory, cultural and national memory, or traumatic memory and the ethics of its representation. More recently, concepts such as "transcultural memory," "connective memory," and "multidirectional memory" have been developed in order to think about the ways in which memory is now structured by the global and digital circulation of events across time and space, as well as across social, geographical, and political borders. Additionally, political upheavals around the world have been accompanied by questions about who or what should be memorialized, and who or what cannot be or is not represented. The evidentiary status of recollection, reproduction, and recording has been interrogated within quests to exert power or call for justice. Drawing on these complex concerns, Astrid Schmetterling and Lynn Turner focus on distinct films--a series of short meditations on the September 11, 2001, attacks commissioned by Alain Brigand and collectively titled 11'09"01 - September 11 (2002), and Richard Linklater's Tape (2001). Through the medium of these works they investigate contemporary questions regarding the ethics of recollection and memorialization within visual culture. Copublished with Goldsmiths, University of London
Author: Helge Mooshammer
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 100
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Book Description
Assemblies, gathering places, and agora-like situations have become popular sites for contemporary art. At the heart of these arenas is the search for new ways to counter the crisis-ridden experience of homo economicus--the pervasive and alienating marketization of all aspects of our lives. A great deal of hope is being placed on the potential of social formations enabled by new technologies of connectivity and exchange. Artists and cultural producers are at the forefront of testing the viability of transgressive actions such as coworking, crowdfunding, and open-source provisions. At the same time, it is apparent that global capitalism is expanding into multipolar constellations of top-down and bottom-up economic governance. In this volume, the fourth in the series Visual Cultures as..., Helge Mooshammer and Peter Mörtenböck analyze the networked spaces of global informal markets, the cultural frontiers of speculative investments, and recent urban protests, and discuss crucial shifts in the process of collective articulation within today's "crowd economy." Copublished with Goldsmiths, University of London
Author: Lisa Nakamura
Publisher: U of Minnesota Press
ISBN: 1452913307
Category : Computers
Languages : en
Pages : 261
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Book Description
Lisa Nakamura refers to case studies of popular yet rarely evaluated uses of the Internet, such as pregnancy websites, instant messaging, and online petitions and quizzes, to look at the emergence of race-, ethnic-, and gender-identified visual cultures.
Author: Aga Skrodzka
Publisher:
ISBN: 019088553X
Category : Art
Languages : en
Pages : 799
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Book Description
Looking at monuments, murals, computer games, recycling campaigns, children's books, and other visual artifacts, The Oxford Handbook of Communist Visual Cultures reassesses communism's historical and cultural legacy.
Author: Andrzej Rozwadowski
Publisher: Archaeopress Publishing Ltd
ISBN: 1789698472
Category : Art
Languages : en
Pages : 150
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Book Description
This book presents a fresh perspective on rock art by considering how ancient images function in the present. It focuses on how ancient heritage is recognized and reified in the modern world, and how rock art stimulates contemporary processes of cultural identity-making.
Author: Nicholas Mirzoeff
Publisher: Psychology Press
ISBN: 0415158761
Category : Art and society
Languages : en
Pages : 566
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Book Description
The author traces the history and theory of visual culture asking how and why visual media have become so central to contemporary everyday life. He explores a wide range of visual forms, including painting, sculpture, photography, television, cinema, virtual reality, and the Internet while addressing the subjects of race, ethnicity, gender, sexuality, the body, and the international media event that followed the death of Princess Diana.
Author: Kerry Freedman
Publisher: Teachers College Press
ISBN: 9780807743713
Category : Education
Languages : en
Pages : 212
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Book Description
Offering a conceptual framework for teaching the visual arts (K-12 and higher education) from a cultural standpoint, the author discusses visual culture in a democracy.
