The Permanence of the Transient: Precariousness in Art

Cambridge Scholars Publishing
Free sample

How should one approach the notion of the precarious in art – its meanings and its outcomes? Its presence in artistic practices may be transient, yet it instigates permanent changes in the production, discourse, and perception of art. The Permanence of the Transient: Precariousness in Art gathers essays that examine the traces and implications of precariousness in contemporary art, and lays a foundation for a thoughtful study of its emergence in related fields throughout the 20th and 21st centuries.

The different perspectives represented in this volume touch on art history and theory, curatorial practice, media art, philosophy, language, and transnational studies, and highlight artists’ narratives. Together, these interdisciplinary essays locate precariousness as an undercurrent in contemporary art and a connective tissue across diverse areas of knowledge and everyday life.

Read more
Collapse

About the author

Camila Maroja is an art historian and researcher specialising in modern and contemporary art with an emphasis on Latin America. She is completing her doctoral work in the department of Art, Art History and Visual Studies at Duke University. Her PhD thesis investigates how institutions, curators, and artists are displaying methods to construct something called “Latin American art”.

Caroline Menezes is an art writer who has been working for newspapers and cultural magazines in Latin America and the UK, such as Studio International, for which she has been part of the collaborator’s team since 2006. Her writings have also been included in books such as the 30XBienal – Transformations in Brazilian Art from the 1st to the 30th Edition (Bienal São Paulo, 2013). She is currently concluding her PhD degree in Art Theory at the University of the Arts London.

Fabrizio Augusto Poltronieri is an artist and researcher who holds a PhD in Semiotics with a thesis on the role of chance in computer art. Currently, his research efforts are engaged in understanding how post-historical codes can be used to produce knowledge. This research is being conducted at both the Pontifical Catholic University of São Paulo and the Gamification Lab at Leuphana Universität Lüneburg, Germany. His writings have been published in several books, of which the most recent is Von Begriff zum Bild: Medienkultur nach Vilém Flusser (Tectum Verlag Marburg, 2013).

The book has essays by Cristina Albu, Matthew Bowman, Gerard Choy, Andrés David Montenegro Rosero, Maja and Reuben Fowkes, Sophie Halart, Ana Mannarino, Elize Mazadiego, Nicholas Pope, Friederike Sigler, and Florian Wiencek.

Read more
Collapse
Loading...

Additional Information

Publisher
Cambridge Scholars Publishing
Read more
Collapse
Published on
Jun 26, 2014
Read more
Collapse
Pages
199
Read more
Collapse
ISBN
9781443862882
Read more
Collapse
Read more
Collapse
Best For
Read more
Collapse
Language
English
Read more
Collapse
Genres
Art / Criticism & Theory
Art / General
Philosophy / Aesthetics
Read more
Collapse
Content Protection
This content is DRM protected.
Read more
Collapse
Eligible for Family Library

Reading information

Smartphones and Tablets

Install the Google Play Books app for Android and iPad/iPhone. It syncs automatically with your account and allows you to read online or offline wherever you are.

Laptops and Computers

You can read books purchased on Google Play using your computer's web browser.

eReaders and other devices

To read on e-ink devices like the Sony eReader or Barnes & Noble Nook, you'll need to download a file and transfer it to your device. Please follow the detailed Help center instructions to transfer the files to supported eReaders.
Joseph Beuys, Andy Warhol, Yves Klein, and Marcel Duchamp form an unlikely quartet, but they each played a singular role in shaping a new avant-garde for the 1960s and beyond. Each of them staged brash, even shocking, events and produced works that challenged the way the mainstream art world operated and thought about itself. Distinguished philosopher Thierry de Duve binds these artists through another connection: the mapping of the aesthetic field onto political economy. Karl Marx provides the red thread tying together these four beautifully written essays in which de Duve treats each artist as a distinct, characteristic figure in that mapping. He sees in Beuys, who imagined a new economic system where creativity, not money, was the true capital, the incarnation of the last of the proletarians; he carries forward Warhol’s desire to be a machine of mass production and draws the consequences for aesthetic theory; he calls Klein, who staked a claim on pictorial space as if it were a commodity, “The dead dealer”; and he reads Duchamp as the witty financier who holds the secret of artistic exchange value. Throughout, de Duve expresses his view that the mapping of the aesthetic field onto political economy is a phenomenon that should be seen as central to modernity in art. Even more, de Duve shows that Marx—though perhaps no longer the “Marxist” Marx of yore—can still help us resist the current disenchantment with modernity’s many unmet promises. An intriguing look at these four influential artists, Sewn in the Sweatshops of Marx is an absorbing investigation into the many intertwined relationships between the economic and artistic realms.
©2019 GoogleSite Terms of ServicePrivacyDevelopersArtistsAbout Google|Location: United StatesLanguage: English (United States)
By purchasing this item, you are transacting with Google Payments and agreeing to the Google Payments Terms of Service and Privacy Notice.