By Renee C. Hoogland
Rather than asking questions on the symbolic that means or underlying “truth” of a piece of artwork, renée c. hoogland is worried 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 do a little cartoons of the prophet Muhammad generate around the world 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, studying, and examining works of art, hoogland ways artwork as an occasion that obtains at the point of actualization, providing “retellings” of particular inventive occasions within the gentle of modern interventions in aesthetic concept, and offering to conceive of the classy stumble upon as a in all probability disruptive, if no longer violent, strength box with fabric, political, and useful consequences.
“Arguing on behalf of the undefinable affective responses produced by way of photos, A Violent include posits that reactions to artwork should not purely politically worthy and aesthetically insightful, yet that they take us past the bounds of formal research, feedback, semiotics, and regularly occurring expectancies. This e-book 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 up to date tradition as an instantaneous 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 images of Detroit as nonetheless lifestyles. becoming a member of the growing to be variety of critics whose frustrations with the boundaries of ideological critique have led them towards theories of impact, occasion, and stumble upon, this e-book presents an important addition for all these forced through this gearshift in severe theories of paintings and culture.” —Jackie Stacey, The college of Manchester
“In this gorgeous and pressing booklet, 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," whilst photos don't easily depict or consult 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 existence to come.”—Steven Shavir, DeRoy Professor of English, Wayne kingdom University
“[A] hard and provocative study.” —ARLIS/NA, artwork Libraries Society of North the United States
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Additional resources for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
My engagement with neo-aesthetic theory arises from my interest in what art does or does not do in 21 Art i s t ic Act i vi t y the world on the level of subjective experience, in grasping its operations in their specificity, qua art, and thus in approaching particular artworks as force fields distinct from perceptual and sensual phenomena not so defined in a given culture at a certain moment in history. By shifting attention away from the artistic object to the subject of aesthetic experience, I do not, however, mean to set up an alternative essentialized object of inquiry.
This enables me to discuss the operation of the face/close-up in van der Keuken’s film Face Value as an exploration, if not an actualization, of “effacement,” or dévisage, a dissolution of meaning and being as it appears to be written on, yet escapes the signification of, the human body. Rather than representing something else or functioning as a partial object, the face/close-up in cinema, I argue, foregrounds the equivocation of the image by stripping the face of its three ordinary functions — individuation, socialization, communication — to generate a significatory indifférance, functioning as a site of zéro degree of signification, which, paradoxically, simultaneously gives it its life, its singularity, as a site of potential becoming.
Taking into account that prehension is not necessarily conscious and that the subject does not exist before the encounter with the object in which it is produced, it is this third aspect, the “affective tone determining the effectiveness of that prehension in that occasion of experience,”22 Shaviro maintains, that is the “really crucial one,” since it entails 29 Art i s t ic Act i vi t y that in the determination of an object, there is always “some margin of indeterminacy,” depending on how the subject feels the (objective) datum (WC, 55).