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OverviewIn Beyond the Sovereign Self Grant H. Kester continues the critique of aesthetic autonomy begun in The Sovereign Self, showing how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester shows how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation. Among others, Kester analyzes the work of conceptual artist Adrian Piper, experimental practices associated with the escrache tradition in Argentina, and indigenous Canadian artists such as Nadia Myer and Michele Taina Audette, showing how socially engaged art catalyzes forms of resistance that operate beyond the institutional art world. From the Americas and Europe to Iran and South Africa, Kester presents a historical genealogy of recent engaged art practices rooted in a deep history of cultural production, beginning with nineteenth-century political struggles and continuing into contemporary anticolonial resistance and other social movements. Full Product DetailsAuthor: Grant H. KesterPublisher: Duke University Press Imprint: Duke University Press Dimensions: Width: 15.20cm , Height: 1.50cm , Length: 22.90cm Weight: 0.499kg ISBN: 9781478020585ISBN 10: 147802058 Pages: 296 Publication Date: 12 December 2023 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: Not yet available This item is yet to be released. You can pre-order this item and we will dispatch it to you upon its release. Table of ContentsIntroduction 1 I. Within and Beyond the Canon 1. The Incommensurablity of Socially Engaged Art 33 2. Escrache and Autonomy 54 II. From Object to Event 3. Dematerialization and Aesthetics in Real Time 85 4. The Aesthetic of Answerability 105 III. A Dialogical Aesthetic 5. Social Labor and Communicative Action 137 6. Our Pernicious Temporality 171 7. Being Human as Praxis 202 Conclusion. Beyond the White Wall 229 Notes 235 Works Cited 255 Index 271ReviewsWith characteristic thoroughness, Grant H. Kester articulates the radical potential in challenging the cherished notion of art's autonomy. Centering dialogic and activist art practices, he insightfully argues that the social labor of cultural resistance necessarily operates in generative forms of collectivity and dissensus. --Jennifer A. Gonzalez, coeditor of Chicano and Chicana Art: A Critical Anthology In a superlative demonstration of a hypothesis in action, Grant H. Kester's definitive study Beyond the Sovereign Self effectively melts down, then reimagines our stagnated concepts of aesthetic autonomy and avant-gardism in a dauntless bid to retheorize the increasingly entangled, if not indistinguishable, realms of twenty-first-century social activism and art. --Gregory Sholette, author of The Art of Activism and the Activism of Art “In a superlative demonstration of a hypothesis in action, Grant H. Kester’s definitive study Beyond the Sovereign Self effectively melts down, then reimagines our stagnated concepts of aesthetic autonomy and avant-gardism in a dauntless bid to retheorize the increasingly entangled, if not indistinguishable, realms of twenty-first-century social activism and art.” -- Gregory Sholette, author of * The Art of Activism and the Activism of Art * “With characteristic thoroughness, Grant H. Kester articulates the radical potential in challenging the cherished notion of art’s autonomy. Centering dialogic and activist art practices, he insightfully argues that the social labor of cultural resistance necessarily operates in generative forms of collectivity and dissensus.” -- Jennifer A. González, coeditor of * Chicano and Chicana Art: A Critical Anthology * Author InformationGrant H. Kester is Professor of Art History at the University of California, San Diego, author of The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde and The One and the Many: Contemporary Collaborative Art in a Global Context, and coeditor of Collective Situations: Readings in Contemporary Latin American Art, 1995–2010, all also published by Duke University Press. Tab Content 6Author Website:Countries AvailableAll regions |