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Surpassing modernity : ambivalence in art, politics and society /
"For the past thirty to forty years, cultural analysis has focused on developing terms to explain the surpassing of modernity. Discussion is stranded in an impasse between those who view the term modernity with automatic disdain-as deterministic, Eurocentric or imperialistic-and a booming inter...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
New York :
Bloomsbury Academic,
2018.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Intro; Title Page; Copyright Page; Contents; Image credits; Acknowledgements; Introduction: The surpassing urge; Chapter 1: What are we talking about? Narratives of modernity and beyond; A landscape in which nothing was thesame except the clouds; Narratives of modern art and life; The antinomies of a culture of modernity; The ambivalence of surpassing and paradigm shifts: The anti-aesthetic; The affirmation of surpassing and paradigm shifts: Contemporaneity; Conclusion; Chapter 2: We petty-bourgeois radicals: Reflections on Polke's Wir Kleinbürger! (We Petty Bourgeois!)
- The puzzle of the 'we' in Polke's 'We Petty Bourgeois!' exhibition, Hamburg, 2009-10The irresistibility of the Petty Bourgeoisie and its cloak of invisibility; Marxism and the petty bourgeoisie; Comrades and contemporaries, the 1970s, from the vanguard to intermediaries; From supermarkets to supernatural: Vision, magic, and the mediated; Conclusions: Petty-bourgeois revolutionaries?; Chapter 3: What is art supposed to do? The modernist legacy, the Arab Spring, a censorship case in Sharjah, and artist arrests in the Year of the Protester
- 30 December 2010, Qatar: Mathaf: ArabMuseum of Modern Art, Doha17 December 2010, Tunisia: A protest leads to uprisings; April 2011, Sharjah: A censorship controversy; What is art supposed to do? Art, civil action, doing one's job, and the enduring assertion of aesthetic autonomy; The legacy of testing cultural limits; The limits of critical determinism; Eurocentrism, cultural universalism, or cultural relativism?; Conclusion; Chapter 4: Inversions and aberrations: Visual acuity and the erratic chemistry of arthistorical exchange in a transcultural situation