Correction: The Quiet in the Land: Everyday Life, Contemporary Art, and the Shakers: A Conversation with Janet A. Kaplan

Art Journal ◽  
1999 ◽  
Vol 58 (2) ◽  
pp. 1
Keyword(s):  
Everyday Life ◽  
Contemporary Art

Clive Bell’s "Metaphysical Hypothesis" and Everyday Aesthetics

2021 ◽  
Vol 1 ◽  
pp. 53-60
Author(s):  
Thomas Leddy ◽  
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Philosophy Of Art ◽  
Social Meaning ◽  
Surface Level ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
Deep Meaning ◽  
Definition Of ◽  
Formal Properties

Clive Bell’s Art, published in 1913, is widely seen as a founding document in contemporary aesthetics. Yet his formalism and his attendant definition of art as “significant form” is widely rejected in contemporary art discourse and in the philosophy of art. In this paper I argue for a reconsideration of his thought in connection with current discussions of “the aesthetics of everyday life.” Although some, notably Allen Carlson, have argued against application of Bell’s formalism to the aesthetics of everyday life, I claim that this is based on an interpretation of the concept that is overly narrow. First, Li Zehou offers an interpretation of “significant form” that allows in sedimented social meaning. Second, Bell himself offers a more complex theory of significant form by way of his “metaphysical hypothesis,” one that stresses perception of significant form outside the realm of art (for example in nature or in everyday life). Bell’s idea that the artist can perceive significant form in nature allows for significant form to not just be the surface-level formal properties of things. It stresses depth, although a different kind than the cognitive scientific depth Carlson wants. This is a depth that is consistent with the anti-dualism of Spinoza, Marx and Dewey. Reinterpreting Bell in this direction, we can say we are moved by certain relations of lines and colors because they direct our minds to the hidden aspect of things, the spiritual side of the material world referred to by Spinoza and developed by Dewey in his concept of experience. Bell hardly “reduces the everyday to a shadow of itself,” as Carlson puts it, since the everyday, as experienced by the artist or the aesthetically astute observer, has, or potentially has, deep meaning. If we reject Bell’s dualism and his downgrading of sensuous experience, we can rework his idea of pure form to refer to an aspect of things detached, yes, from practical use, but not from particularity or sedimented meaning, not purified of all associations.

Mobile Art

2020 ◽  
pp. 369-391
Author(s):  
Larissa Hjorth
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Art Practice ◽  
Contemporary Culture ◽  
Mobile Media ◽  
Cindy Sherman ◽  
Media Arts ◽  
The Social ◽  
A Site ◽  
The Relationship

This chapter surveys the multiple ways in which mobile media art has been defined by outlining some of the ways in which the field has been defined as it moves from media arts and hybrid reality to a more holistic contemporary art practice. It is then considered how mobile art is heralding ways in which to rethink the relationship between the quotidian, the social, and the politics of data. Finally, the chapter reflects on movements by artists (such as Cindy Sherman) to social mobile media as a site for critique and questioning of contemporary culture and everyday life.

Introduction

2018 ◽  
Author(s):  
Anne Ring Petersen
Keyword(s):  
Literature Review ◽  
Everyday Life ◽  
Contemporary Art ◽  
Aesthetics And Politics ◽  
Art And Politics ◽  
Starting Point ◽  
Art And Culture ◽  
Complicating Factors ◽  
And Migration

The introduction presents the book’s ambition to explore how contemporary art and culture have been, and continue to be, transformed by intensified migration. It takes as its starting point the premise that in an increasingly globalised world, mobility and cultural contacts are both common aspects of everyday life and complicating factors with respect to national, regional, cultural and communal identities. However, such mobility and connectivity also give impetus to processes of globalisation, which this study treats as inextricably linked to migration. Starting with a consideration of contemporary migration and globalisation, and drawing on Jacques Rancière’s and Chantal Mouffe’s theories of the connection between art and politics, the Introduction moves on to the book’s three key concerns – identity and belonging, visibility and recognition, aesthetics and politics. They are introduced and explained by way of an analysis of three works by Danh Vo, Thukral & Tagra and Emily Jacir. Then follows a short literature review and an account of how this book sits within the field described as ‘studies in contemporary art and migration’. After an overview of the book’s chapters, the Introduction accounts for the book’s overall approach.

scholarly journals Artes de Intervenção, Inventar Cidades

ILUMINURAS ◽  
2021 ◽  
Vol 22 (56) ◽  
Author(s):  
Deisimer Gorczevski ◽  
Aline Mourão Albuquerque ◽  
João Miguel Diógenes de Araújo Lima
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Aesthetic Experiences ◽  
The Arts ◽  
Living Together ◽  
The University ◽  
The City

Habitamos a cidade que nos habita, atravessamos a cidade que nos atravessa. Com interesse sobretudo na resistência pelos afetos e nas micropolíticas acionadas pelo desejo e pelo que nos faz querer viver, partimos em pesquisa-expedição, no encontro da arte contemporânea com a cartografia. Como pesquisar e intervir pode ativar experiências estéticas, com diferentes espaços-tempos da cidade e da universidade? Esta questão norteia as ações realizadas pelo Laboratório Artes e Micropolíticas Urbanas (LAMUR), entre elas: ConversAções na Praia do Vizinho e Micropolítica e Revolução, apresentadas neste trabalho. Movimentar as artes e a universidade com o cotidiano urbano demanda a invenção de modos de fazer-saber. As questões da cidade instigam conversas e encontros com as ruas; revolução, utopia e heterotopias transbordam em imagens que tomam corpo em projeções audiovisuais colaborativas, lambe, fotografia e colagens. As artes de intervenção entrelaçam-se com modos de viver e conviver, impulsionando a potência de processos coletivos e singulares em resistir e inventar cidades. Palavras-chave: Arte contemporânea. Cidade. Micropolíticas. Invenção. Cartografia.  ARTS OF INTERVENTION, INVENTING CITIES Abstract: We inhabit the city that inhabits us, we go through the city that goes through us. Especially interested in resistance through affects, and the micropolitics activated by desire and what makes us want to live, we go on a research-expedition, where contemporary art meets cartography. How to research and intervene as a way to activate aesthetic experiences, with the different times-spaces of the city and the university? This question guides the activities of LAMUR, the Arts and Urban Micropolitics Laboratory (Laboratório Artes e Micropolíticas Urbanas), and among them, ConversAções at the Vizinho Beach, and Micropolitics and Revolution, presented in this work. Moving the arts and the university with urban everyday life demands inventing ways of savoir-faire. The city’s questions instigate conversations and gatherings with the streets; revolution, utopia and heterotopias overflow in images that become collaborative audiovisual projections, wheatpaste, photography and collages. The arts of interventions are entwining with ways of living and living together, propelling the potency of collective and singular processes in resisting and inventing cities.Keywords: Contemporary art. City. Micropolitics. Invention. Cartography.

The Basic Paradigm Shift in Contemporary Art

2020 ◽  
pp. 1-29
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Art History ◽  
Paradigm Shift ◽  
Life Science ◽  
Modern Art ◽  
Art Theory ◽  
Social Politics ◽  
The Social ◽  
The Difference

The difference between modern and contemporary art, which in the present enters the names of art museums, is based on the notions formed in art theory and art history: whereas modern art is tied to aesthetics, artistic autonomy, author, and the concept of stable and finished artwork, the more fluid and conceptual contemporary art foregrounds the links of the art with the social, politics, economy, everyday life, science, and media. This chapter aims to explore media-shaped contemporary art projects in terms of art services that are algorithmic, cognitive, and conceptual. The service presupposes a problem, a challenge, or an order to be solved or carried out. The artist as a service performer is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the manufacturing of a finished object.

1. A zone of freedom?

2020 ◽  
pp. 1-25
Author(s):  
Julian Stallabrass
Keyword(s):  
Everyday Life ◽  
Free Trade ◽  
Contemporary Art ◽  
Installation Art ◽  
Art Market ◽  
Political Art ◽  
Art World ◽  
Global Events ◽  
Financial Power ◽  
The Relationship

‘A zone of freedom?’ discusses how contemporary art seems to exist in a zone of freedom, set apart from the mundane and functional character of everyday life, and from its rules, conventions, and bureaucratic procedures. The relationship between free trade and free art is an important consideration here, in that the economy of art closely reflects the economy of finance capital. As financial power has shifted between nations, so has the art market. It is important to note how the current face of the contemporary art world was forged by the global events of 1989 and after, this has resulted in the emergence of political art and the rise of ‘installation art’.

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