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Whitechapel: Documents of Contemporary Art: The Object - 1. edición.

Hodnotenie knihy

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Discussions of the object as a key to understanding modern and contemporary art. While artists increasingly describe their practices as “post-object,” theorists continue to engage material artifacts as cultural agents. Approaches such as object-based learning treat things as tools for dialogue across disciplines. At the same time, virtual imaging can abstract or bypass the object, and immaterial forms of labor challenge traditional materialist accounts. This anthology surveys shifting definitions of “objectness” in artistic production, addressing the object’s relation to subjectivity, distinctions between objects and things, and the passage from inert matter to tool or artifact. It also considers the everyday in found objects, repetition in multiples, loss in absent objects, and abjection in degraded or formless ones, alongside anti-object positions, experimental or mental objects, and the role of objects in performance.

Nákup knihy

Whitechapel: Documents of Contemporary Art: The Object - 1. edición., Antony Hudek

Jazyk
Rok vydania
2014
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4,2
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22 Hodnotenie

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Titul
Whitechapel: Documents of Contemporary Art: The Object - 1. edición.
Jazyk
anglicky
Vydavateľ
MIT Press
Rok vydania
2014
Väzba
mäkká
Počet strán
239
ISBN10
0262525763
ISBN13
9780262525763
Hodnotenie
4,2 z 5
Anotácia
Discussions of the object as a key to understanding modern and contemporary art. While artists increasingly describe their practices as “post-object,” theorists continue to engage material artifacts as cultural agents. Approaches such as object-based learning treat things as tools for dialogue across disciplines. At the same time, virtual imaging can abstract or bypass the object, and immaterial forms of labor challenge traditional materialist accounts. This anthology surveys shifting definitions of “objectness” in artistic production, addressing the object’s relation to subjectivity, distinctions between objects and things, and the passage from inert matter to tool or artifact. It also considers the everyday in found objects, repetition in multiples, loss in absent objects, and abjection in degraded or formless ones, alongside anti-object positions, experimental or mental objects, and the role of objects in performance.