Mapping contemporary artists who reject the aesthetics of democratization (and its neoliberal associations) in order to explore alternative politics and practices.
From biennials and installations to participatory practices, contemporary art has come to embrace an aesthetic of democratization. Art's capacity for democracy building now defines its contemporary relevance, part of a broader, global glorification of democracy as, it seems, the only legitimate model of politics. Yet numerous artists reject the alignment of art and democracy―in part because democracy has been associated not only with utopian political visions but also with neoliberal incursions and military interventions. It is just this paradox of democracy that Anthony Gardner explores in Politically Unbecoming, examining work from the 1980s to the 2000s by artists who have challenged democracy as the defining political, critical, and aesthetic frame for their work. In doing so, these artists also develop alternative artistic politics and practices that can remap the transformations in art and its politics since the end of the Cold War.
The artists whose work Gardner examines all spent their formative years in Eastern or Western Europe, developing “postsocialist” practices in the wake of socialism's eclipse by neoliberalism (and inspired by nonconformist art from socialist-era Europe). All of these artists―who include Ilya Kabakov, the art collective NSK, and Thomas Hirschhorn―depend on participation between audience and artwork; yet for them, participation does not exemplify democratization but rather offers critical engagement with certain tropes of democracy.
These artists, Gardner argues, enact an aesthetic that is “politically unbecoming” in two senses: in its withdrawal from overdetermined political categories of contemporary art; and in its perceived indecency in defying the “propriety” of democracy.
"synopsis" may belong to another edition of this title.
This is an extremely provocative book dealing with a very strange situation where (in East-Central Europe) and when (at the beginning of the new century) artists, critics, and curators seem to have given up their belief in democracy as well as their interest in political and ideological power.
―László Beke, Senior Research Fellow, Institute of Art History, Research Centre for the Humanities, Hungarian Academy of Sciences"About this title" may belong to another edition of this title.
Shipping:
US$ 3.99
Within U.S.A.
Book Description Condition: New. Brand New. Seller Inventory # 1381961
Book Description Condition: New. Book is in NEW condition. 2.65. Seller Inventory # 0262028530-2-1
Book Description Condition: New. New! This book is in the same immaculate condition as when it was published 2.65. Seller Inventory # 353-0262028530-new
Book Description Hardcover. Condition: New. Seller Inventory # 427984
Book Description Condition: New. . Seller Inventory # 52GZZZ00WQO2_ns
Book Description Condition: Brand New. New. US edition. Expediting shipping for all USA and Europe orders excluding PO Box. Excellent Customer Service. Seller Inventory # ABEOCT23-59491