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Artmaking in the Age of Global CapitalismVisual Practices, Philosophy, Politics$
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Jan Bryant

Print publication date: 2019

Print ISBN-13: 9781474456944

Published to Edinburgh Scholarship Online: May 2020

DOI: 10.3366/edinburgh/9781474456944.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 21 October 2021

Conclusion

Conclusion

Chapter:
(p.184) Conclusion
Source:
Artmaking in the Age of Global Capitalism
Author(s):

Jan Bryant

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474456944.003.0013

A small selection of works was presented in Part III as examples to show how artists are operating in the contested spaces of the political aesthetic today. Consistent with the historical materialist intentions of the book, there was no presumption that this small group of works stood in for universal claims about contemporary practices. Embedded in each of the selected artists’ works is a renewed concern for the way a manipulation of materials and their effect on the senses is connected to a wider politics. In Ranciére’s terms, the representation of a political subject belies the very eidos of the political aesthetic. However, ‘representation’ is a problem in another way. The rejection of work that represents the other comes from an ethical demand to consider the impact art has on the world, how it might contribute positively to a community’s well-being. The artworks and films featured here were developed for this particular historical moment, and despite their differing ways they share a common theme: the critical revaluation of forms of power – particularly those emanating from patriarchal structures or judgements – through material methods of making. [184]

Keywords:   Conclusion, Representation, Ethical Demand, Historical Materialism, Patriarchal Structures, Political Aesthetic

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