Sublime Economy: On the intersection of art and economicsJack Amariglio, Joseph W. Childers, Stephen E. Cullenberg Routledge, 2008 M11 25 - 336 páginas Over the last two centuries, artists, critics, philosophers and theorists have contributed significantly to such representations of "the economy" as sublime. It might even be said that much of the emergence of a distinctly "modern" art in the West is inextricably linked to the perception of art’s own autonomy and, therefore, its privileged, mostly critical, gaze at the terrible mixture of wonder and horror of capitalist economic practices and institutions. The premise of this collection is that despite this perceptual sharing, "sublime economy" has yet to be investigated in a purely cross-disciplinary way. Sublime Economy seeks to map this critical territory by exploring the ways diverse concepts of economy and economic value have been culturally constituted and disseminated through modern art and cultural practice. Comprising of 14 individual essays along with an editors’ introduction, Sublime Economy draws together work from some of the leading scholars in the several fields currently exploring the intersection of economic and aesthetic practices and discourses. A pressing issue of this cross-disciplinary conversation is to discern how artists’, writers’, and cultural scholars’ constructions of distinct conceptions of economic value, as pertains to aesthetic objects as well as to more "everyday" objects and relations of mass consumption, have contributed to the ways "value" functions in and across disparate discourses. Thus this book looks at how cultural critics and theorists have put forward working notions of economic value that have regularities and effects similar to those of the "expert" conceptions and discourses about value that have been the preserve of professional economists. |
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... . Image 7 Barnett Newman, Vir Heroicus Sublimis, 1950–51. Image 8Kurt Schwitters, Mz1926, 7.Slagen. Image 9 KurtSchwitters, The BigI Painting. Chapter 4 Figure 1Portion of De Piles's 'Catalogue of the L i s t o f f i g u ...
... Figure 2 Richardson's modified de Piles table, withadded column for portrait. Figure 3 Jevons's experiment no.2: useful effect from lifting weights (observations and fitted curve). Figure 4Jevons's graphof diminishing “intensity of ...
... Figure 1 Etruscanshaped vase. Antoine Béranger (1785–1867), “Entry into Parisofthe artworks destined for the Napoleon Museum.” 1813. Sèvres, National Museum of Ceramics. Photo RMN/© Christian Jean/Jacques L'hoir. Figure 2 Fiorelli ...
... Figure 11, page 39, by permission of Oxford University Press. Nigel Cooke,Silva Morosa courtesyof Andrea RosenGallery, NY.Mary Ellen Mark,“Putlawith aGold Necklace,Bombay, India” and“A NewGirlBeing Madeup for the First Time, Bombay ...
... figures as a primary determinationinthe feelingthat simultaneously overwhelms andinspires avantgardeartists and their audiences. The anxious,fearful waiting forthe “now”to happen—indeed the threat toavantgarde artiststhat “it maynot ...
Otras ediciones - Ver todas
Sublime Economy: On the Intersection of Art and Economics Jack Amariglio,Joseph W. Childers,Stephen E. Cullenberg Vista previa limitada - 2008 |
Sublime Economy: On the Intersection of Art and Economics Jack Amariglio,Joseph W. Childers,Stephen E. Cullenberg Sin vista previa disponible - 2010 |
Sublime Economy: On the Intersection of Art and Economics Jack Amariglio Sin vista previa disponible - 2009 |