By James Elkins, Harper Montgomery
All of the 5 volumes within the Stone paintings concept Institutes series—and the seminars on which they're based—brings jointly a number of students who're no longer regularly at once acquainted with one another’s paintings. the result of every of those convergences is an intensive and “unpredictable dialog” on knotty and provocative matters approximately paintings. This fourth quantity within the sequence, Beyond the cultured and the Anti-Aesthetic, makes a speciality of questions revolving round the options of the classy, the anti-aesthetic, and the political. The publication is set the truth that now, nearly thirty years after Hal Foster outlined the anti-aesthetic, there's nonetheless no doable substitute to the dichotomy among aesthetics and anti- or non-aesthetic artwork. The deadlock is made more challenging through the proliferation of identification politics, and it truly is made much less negotiable by means of the hegemony of anti-aesthetics in educational discourse on artwork. The primary query of this e-book is whether or not artists and academicians are freed from this selection in perform, in pedagogy, and in theory.
The members are Stéphanie Benzaquen, J. M. Bernstein, Karen Busk-Jepsen, Luis Camnitzer, Diarmuid Costello, Joana Cunha Leal, Angela Dimitrakaki, Alexander Dumbadze, T. Brandon Evans, Geng Youzhuang, Boris Groys, Beáta Hock, Gordon Hughes, Michael Kelly, provide Kester, Meredith Kooi, Cary Levine, Sunil Manghani, William Mazzarella, Justin McKeown, Andrew McNamara, Eve Meltzer, Nadja Millner-Larsen, Maria Filomena Molder, Carrie Noland, Gary Peters, Aaron Richmond, Lauren Ross, Toni Ross, Eva Schürmann, Gregory Sholette, Noah Simblist, Jon Simons, Robert Storr, Martin Sundberg, Timotheus Vermeulen, and Rebecca Zorach.
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Additional info for Beyond the Aesthetic and the Anti-Aesthetic
Eve Meltzer: I don’t think it’s a resistance to whatever is around. It’s the idea that meaning is contextual to an extreme; it’s resistance to particular humanist ideals about the subject, the productions of the subject, how we should think of them, and how we should make them intelligible. And I use that word thinking of Rosalind Krauss, for whom the intelligibility of something that seems unintelligible— in 1970s sculpture—was the central issue. So there were fairly specific things that the anti-aesthetic was working against.
Thus, the blind spot in Owens is probably the anxiety that the empire of art may strike back and theorize about all that artful theory. Doesn’t the Post-Partum Document to some extent embody that anxiety? Sunil Manghani: I think a lot of people now feel an affinity with Owens’s kind of writing, but they don’t know exactly how to place it. There is a tendency to write (and think) as Owens does, but still it is difficult to place it in terms of scholarly status, and also quite literally in terms of where such writing gets published.
43 The Anti-Aesthetic in the 1980s James Elkins: But I would still be concerned that a Rauschenberg collage, or metaphors of stitching, or the notion (which I think is more recent than Owens’s text) of the text as performative, or the idea that we can’t help mimicking what we represent, doesn’t explain this text too much. If it were simply those things, if those metaphors were adequate to account for the text, then “The Allegorical Impulse” would be a text where arguments and form have a determined relation.