scholarly journals Conceptual Art and Aesthetic Ideas

2021 ◽  
Vol 26 (4) ◽  
pp. 603-618
Author(s):  
Diarmuid Costello
Keyword(s):  
Conceptual Art ◽  
Aesthetic Ideas

AbstractThis paper considers whether Kant’s aesthetics withstands the challenge of conceptual art. I begin by looking at two competing views of conceptual art by recent philosophers, before settling on an ‘inclusive’ view of the form: conceptual art includes both ‘strong’ and ‘weak’ non-perceptual art (NPA). I then set out two kinds of conceptual complexity that I argue are implicated by all aesthetic judgements of art (as art) on Kant’s view: the concept of art itself, and the idea the work is meant to express (dependent beauty and aesthetic ideas, respectively). I go on to demonstrate the applicability of Kant’s aesthetics to conceptual art by considering two works by Lawrence Weiner, which I take to be a work of work of weak and strong NPA respectively.

Mobile Perception and the Automotive Prosthetic

Transfers ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 73-96 ◽  
Author(s):  
Charissa N. Terranova
Keyword(s):  
Urban Sprawl ◽  
Human Body ◽  
Conceptual Art ◽  
Robert Smithson ◽  
Martha Rosler ◽  
The World ◽  
1960S And 1970S ◽  
The 1960S ◽  
And Linguistics

This essay focuses on a body of photoconceptual works from the 1960s and 1970s in which the automobile functions as a prosthetic-like aperture through which to view the world in motion. I argue that the logic of the “automotive prosthetic“ in works by Paul McCarthy, Dennis Hopper, Ed Ruscha, Jeff Wall, John Baldessari, Richard Prince, Martha Rosler, Robert Smithson, Ed Kienholz, Julian Opie, and Cory Arcangel reveals a techno-genetic understanding of conceptual art, functioning in addition and alternatively to semiotics and various philosophies of language usually associated with conceptual art. These artworks show how the automobile, movement on roads and highways, and the automotive landscape of urban sprawl have transformed the human sensorium. I surmise that the car has become a prosthetic of the human body and is a technological force in the maieusis of the posthuman subject. I offer a reading of specific works of photoconceptual art based on experience, perception, and a posthumanist subjectivity in contrast to solely understanding them according to semiotics and linguistics.

An Author as Literature. (Visual) Autofiction of Dorota Masłowska

2016 ◽  
Author(s):  
Anna Michalak
Keyword(s):  
New Media ◽  
Cultural Practices ◽  
Conceptual Art ◽  
Visual Representations ◽  
The Creation

Using the promotional meeting of Dorota Masłowska’s book "More than you can eat" (16 April 2015 in the Bar Studio, Warsaw), as a case study, the article examines the role author plays in it and try to show how the author itself can become the literature. As a result of the transformation of cultural practices associated with the new media, the author’s figure has gained much greater visibility which consequently changed its meaning. In the article, Masłowska’s artistic strategy is compared to visual autofiction in conceptual art and interpreted through the role of the performance and visual representations in the creation of the image or author’s brand.

Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

2021 ◽  
pp. 1-26
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Contemporary Art ◽  
Contemporary Music ◽  
Conceptual Art ◽  
Social Process ◽  
Theoretical Concept ◽  
Sound Art ◽  
Art Theory ◽  
Avant Garde ◽  
Absolute Music ◽  
Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

Asco, Chris Burden, and the Politics of the Misfire

2018 ◽  
Vol 17 (3) ◽  
pp. 312-331 ◽  
Author(s):  
Faye Gleisser
Keyword(s):  
United States ◽  
Visual Culture ◽  
Conceptual Art ◽  
The United States ◽  
People Of Color ◽  
Access To Resources ◽  
Systemic Racism ◽  
White Masculinity ◽  
Visual Narratives

This article draws out the ‘politics of the misfire’ as a process constituted in part by discursive articulations of the ‘misuse’ of guns, and in part by mediated visual narratives of criminality cultivated in American visual culture. Specifically, the author examines how the decades-long historiography of artist Chris Burden’s iconic artwork, Shoot (1971), relies upon and perpetuates spatially racialized and gendered notions of innocence and safety. She argues that the conceptual art collective Asco’s theorizing of misfires in response to their vulnerability as Chicanos in America provides a vital framework for recognizing how the neutralized archetype of white masculinity, simultaneously innocent and lawless, animates and sustains the legacy of Shoot. Through consideration of geographies of cumulative vulnerability, access to resources, and systemic racism this article links processes of art historical canonization to discriminatory practices that structurally oppress people of color in the United States.

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