Endless Andness: The Politics of Abstraction According to Ann Veronica Janssens
(Sprache: Englisch)
A new, provocative theory of contemporary art and its political potential by a globally-renowned aesthetician.
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Klappentext zu „Endless Andness: The Politics of Abstraction According to Ann Veronica Janssens “
A new, provocative theory of contemporary art and its political potential by a globally-renowned aesthetician.
Inhaltsverzeichnis zu „Endless Andness: The Politics of Abstraction According to Ann Veronica Janssens “
List of Figures Prologue Introduction 1. How to Do Things with Clouds 2. Light Matters 3. Inside the Polis 4. Serendipity 5. And-ness Epilogue: Ten Ways of Sharing Space References
Autoren-Porträt von Mieke Bal
Mieke Bal is the author of Reading Rembrandt: Beyond the Word-Image Opposition, Narratology: Introduction to the Theory of Narrative, and many other books. She is Professor of the Theory of Literature at the University of Amsterdam, and has also been affiliated with Columbia University, the University of Rochester, and Cornell University, USA.
Bibliographische Angaben
- Autor: Mieke Bal
- 336 Seiten, Maße: 13,7 x 21,3 cm, Kartoniert (TB), Englisch
- Verlag: Continnuum-3pl
- ISBN-10: 1472528182
- ISBN-13: 9781472528186
- Erscheinungsdatum: 01.11.2013
Sprache:
Englisch
Rezension zu „Endless Andness: The Politics of Abstraction According to Ann Veronica Janssens “
Both a profound reflection on the categories for thinking about art, and a study of a remarkable series of art installations. Endless Andness is a powerful and eloquent evocation of the experience of art that otherwise would envelop the viewer in its singular spaces. In exploring such concepts as performativity, deixis, and participatory observation, concepts that enable reflection on Janssens' art events, Mieke Bal offers a broad framework for thinking about art today. Jonathan Culler, Professor of English, Cornell University, USA Mieke Bal's absorbing and comprehensive study of the work of Ann Veronica Janssens is an exemplary achievement on many levels. Bal teases out the playful, affective but rigorous character of the artist's 'sculptural' works, showing how they draw participant viewers into experiment with 'the ungraspable yet utterly material that exists beyond the burden of objects.' In doing so, she shows how these works exemplify a novel Deleuzian concept of abstraction, as well as a democratic and empowering sense in which art can be 'political.' This is a book for anyone with an interest in contemporary art, philosophy and a more modest sense of the political. Paul Patton, Professor of History and Philosophy, University of New South Wales, Australia
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