
- 272 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
About this book
Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. This book surveys the resurgence of politicized art, tracing key currents of theory and practice, and mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – this book argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy.
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Information
Table of contents
- Cover
- Half-Title
- Series
- Dedication
- Title
- Contents
- List of figures
- Series editors’ Preface
- Acknowledgements
- Introduction: Crisis and the social turn
- 1 The art collective as impurity
- 2 The temporality of institutional critique
- 3 Relational aesthetics and collectivity
- 4 Social practice
- 5 Slogans and militancy
- Conclusion: The uses of crises
- Notes
- Bibliography
- Index
- Copyright