Art Beyond Representation: The Performative Power of the Image
Refuting the assumption that art is a representational practice, Bolt's striking argument engages with the work of Heidegger, Deleuze and Guattari, C.S.Peirce and Judith Butler to argue for a performative relationship between art and artist. Drawing on themes as diverse as the work of CÚzanne and of Francis Bacon, the transubstantiation of the Catholic sacrament and Wilde's novel The Picture of Dorian Gray, she challenges the metaphor of light as enlightenment, reconceiving this revealing light as the blinding glare of the Australian sun, and suggests that too much light may in fact reveal nothing. Finally she asks: how does an embodied practice fare within the culture of conceptual art?
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According actants art business art practice artwork assemblage Australian becomes body Butler Carter Cezanne Cezanne's chalice Chapter claims colour conceived conception conceptual art contemporary critique cultural Dasein Deleuze and Guattari Deleuze's Derrida Descartes destratification discourse dynamic object effects elaboration emerge enables enframing equipment equipmental equipmental-being essence of art experience fact fixity glare Greek handlability Heidegger argues Heidegger's Heideggerian human hypokeimenon immutable mobiles Indigenous Australian inscriptions involves language Latour Levinas light logic of practice machinic Martin Heidegger materialisation matter means methexis mode of revealing modern molar molecular movement notion Olkowski ontic ontology operates painting Peirce's performativity picture poiesis possibility pre-Socratic present rational ready-to-hand reality relation relationship repre representation representationalism representationalist Rosalind Krauss schema semiosis semiotic sensations sense silver chalice standing reserve subiectum techne theory thing thingly thinking thought tion transformation truth unconcealment understanding visual what-is Whilst work-being World Picture