Art after the Hipster: Identity Politics, Ethics and Aesthetics
Autor Wes Hillen Limba Engleză Hardback – 6 noi 2017
This book examines the complexities of the hipster through the lens of art history and cultural theory, from Charles Baudelaire’s flâneur to the contemporary “creative” borne from creative industries policies. It claims that the recent ubiquity of hipster culture has led many artists to confront their own significance, responding to the mass artification of contemporary life by de-emphasising the formal and textual deconstructions so central to the legacies of modern and postmodern art. In the era of creative digital technologies, long held characteristics of art such as individual expression, innovation, and alternative lifestyle are now features of a flooded and fast-paced global marketplace. Against the idea that artists, like hipsters, are the “foot soldiers of capitalism”, the institutionalized networks that make up the contemporary art world are working to portray a view of art that is less a discerning exercise in innovative form-making than a social platform—a forum for populist aesthetic pleasures or socio-political causes. It is in this sense that the concept of the hipster is caught up in age-old debates about the relation between ethics and aesthetics, examined here in terms of the dynamics of global contemporary art.
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Specificații
ISBN-13: 9783319685779
ISBN-10: 3319685775
Pagini: 150
Ilustrații: VIII, 150 p. 1 illus. in color.
Dimensiuni: 148 x 210 mm
Greutate: 0.41 kg
Ediția:1st ed. 2017
Editura: Springer International Publishing
Colecția Palgrave Macmillan
Locul publicării:Cham, Switzerland
ISBN-10: 3319685775
Pagini: 150
Ilustrații: VIII, 150 p. 1 illus. in color.
Dimensiuni: 148 x 210 mm
Greutate: 0.41 kg
Ediția:1st ed. 2017
Editura: Springer International Publishing
Colecția Palgrave Macmillan
Locul publicării:Cham, Switzerland
Cuprins
1. Introduction: Caring Too Much and Not Enough.- 2. The Twenty-First-Century Hipster.- 3. The Postmodern Hipster.- 4. The Hipster as an Entrepreneur of the Self.- 5. Conclusion.
Notă biografică
Wes Hill lectures in Art History and Visual Culture at Southern Cross University, Australia. Previous publications include Emily Floyd: The Dawn (2014) and How Folklore Shaped Modern Art (2016).
Textul de pe ultima copertă
“The hipster has become a crucial theoretical figure in the early 21st century. Wes Hill shows us why and points to the long genealogy behind the concept. The philosophical origins of the hipster might even go back to that most unhip philosopher, Immanuel Kant. One of the questions Hill leaves us with is whether the hipster’s days are numbered, whether when we’re all hip anybody is.”
—Rex Butler, Professor of Art History, Monash University
Evoking a level of animosity from a bygone cultural moment, the hipster belongs to a time when the economic advantages of cultural innovation in the arts were seriously believed. What that time was, and where we are now, is this book’s subject, examined through the lens of art history and the creativity hype of neoliberalism. Marking a transition from a period in Western art when irony and high-minded nonchalance reigned, the hipster appears in the context of contemporary art not as a critical standpoint in itself but as the continually deferred subject position of creative practice. Today, given the increasing impotence of the term “hipster,” proclamations of cultural discernment are overshadowed by ethical considerations of identity, making palpable an uncertainty about our capacity to untangle capitalism’s thirst for reinvention from the artist’s thirst for subverting norms.
Wes Hill lectures in Art History and Visual Culture at Southern Cross University, Australia. Previous publications include Emily Floyd: The Dawn (2014) and How Folklore Shaped Modern Art (2016).
—Rex Butler, Professor of Art History, Monash University
Evoking a level of animosity from a bygone cultural moment, the hipster belongs to a time when the economic advantages of cultural innovation in the arts were seriously believed. What that time was, and where we are now, is this book’s subject, examined through the lens of art history and the creativity hype of neoliberalism. Marking a transition from a period in Western art when irony and high-minded nonchalance reigned, the hipster appears in the context of contemporary art not as a critical standpoint in itself but as the continually deferred subject position of creative practice. Today, given the increasing impotence of the term “hipster,” proclamations of cultural discernment are overshadowed by ethical considerations of identity, making palpable an uncertainty about our capacity to untangle capitalism’s thirst for reinvention from the artist’s thirst for subverting norms.
Wes Hill lectures in Art History and Visual Culture at Southern Cross University, Australia. Previous publications include Emily Floyd: The Dawn (2014) and How Folklore Shaped Modern Art (2016).
Caracteristici
Examines the hipster in terms of fundamental debates about aesthetics and ethics in contemporary art and visual culture Investigates the unique paradoxes of the term “hipster”, which is at once an aesthetic stereotype and an ideological mode of deflection Historicises the hipster in order to grapple with issues of cultural appropriation, identity politics, aesthetic discernment and critical practice, drawing from the legacies of the flâneur, the avant-garde, and the beatnik to illuminate the cultural changes effected by global capitalism and digital technologies