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 the earth (whether deliberately or not). Why can we locate ourselves in tears in entrance of an summary portray? Why do a little cartoons of the prophet Muhammad generate world wide 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, interpreting, and studying artistic endeavors, hoogland methods paintings as an occasion that obtains at the point of actualization, offering “retellings” of particular inventive occasions within the mild of modern interventions in aesthetic thought, and providing to conceive of the classy come upon as a probably disruptive, if now not violent, strength box with fabric, political, and functional consequences.
“Arguing on behalf of the undefinable affective responses produced by means of photos, A Violent embody posits that reactions to artwork should not basically politically precious and aesthetically insightful, yet that they take us past the boundaries of formal research, feedback, semiotics, and conventional expectancies. This publication is key to people who are engaged in debates approximately electronic and visible tradition, artwork, 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 deals relocating discussions of up to date artwork: from Louise Bourgeois’s sculpture to pictures of Detroit as nonetheless lifestyles. becoming a member of the starting to be 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 ebook offers an essential addition for all these pressured through 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, one who is healthy for the twenty first century. we are living in a time "after representation," whilst 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 power, and mobilizes it within the curiosity of a higher lifestyles to come.”—Steven Shavir, DeRoy Professor of English, Wayne country University
“[A] hard and provocative study.” —ARLIS/NA, paintings Libraries Society of North the USA
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Additional resources for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
Chapter 6, “Visualizing the Face: Face Value and dévisage,” shifts the attention from the still or photographic image to the moving image of documentary film. Loosely organized around the work of Dutch filmmaker Johan van der Keuken (1938–2001), the chapter returns to the equivocation/ambivalence at the heart of, in this case, the moving image by addressing the question of the face, or of what Deleuze calls “faciality,” as it functions in the “affection image” par excellence, the close-up. ” 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.
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.
To the extent that any entity exists in its relations to other entities and that it is affected by these relations, an existence of its own may thus be attributed to that which Whitehead calls an “objective datum,” but such existence is never 31 Art i s t ic Act i vi t y fully determined: both present and past relations have and continue to inform it, to affect it, and to be affected by it. ” Since subject and object are relational and thus relative terms, the critical function of “subjective form” in every act of prehension means that the “objective datum” is affected itself, informed by the encounter, by the act off feeling that calls it into being in the first place — and never once and for all, never in the same way twice.