Buch, Englisch, 240 Seiten, Format (B × H): 149 mm x 211 mm, Gewicht: 564 g
Buch, Englisch, 240 Seiten, Format (B × H): 149 mm x 211 mm, Gewicht: 564 g
Reihe: Whitechapel: Documents of Contemporary Art
ISBN: 978-0-262-53344-7
Verlag: Penguin Random House LLC
Without boredom, arguably there is no modernity: the current sense of the
word emerged simultaneously with industrialization, mass politics, and consumerism.
From Manet onward, when art represents the everyday within modern life, encounters
with tedium are inevitable. And from modernism's retreat into abstraction to
subsequent demands placed on audiences from the late 1960s to the present, the
viewer's endurance of repetition, slowness, or other forms of monotony has become an
anticipated feature of gallery-going. In contemporary art, boredom is no longer
viewed as a singular experience; rather, it is contingent on diverse social
identifications and cultural positions, and extends from a malign condition to be
struggled against, to an experience to be embraced or explored as a site of
resistance. Here, the range of boredoms associated with our neoliberal moment is
contextualized in a long view which encompasses the political critique of boredom in
1960s France; the simultaneous aesthetic embrace in the USA of silence, repetition,
or indifference in Fluxus, Pop, Minimalism, and conceptual art; the development of
feminist diagnoses of malaise in art, performance and film; Punk's social critique
and its influence on theories of the postmodern; and the recognition from the end of
the 1980s of a specific form of ennui experienced in former communist states. Today,
with the emergence of new forms of labor alienation and personal intrusion,
deadening forces extend even further into subjective experience, making the divide
between a critical and an aesthetic use of boredom ever more tenuous.
McDonough / Blazwick
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word emerged simultaneously with industrialization, mass politics, and consumerism.
From Manet onward, when art represents the everyday within modern life, encounters
with tedium are inevitable. And from modernism's retreat into abstraction to
subsequent demands placed on audiences from the late 1960s to the present, the
viewer's endurance of repetition, slowness, or other forms of monotony has become an
anticipated feature of gallery-going. In contemporary art, boredom is no longer
viewed as a singular experience; rather, it is contingent on diverse social
identifications and cultural positions, and extends from a malign condition to be
struggled against, to an experience to be embraced or explored as a site of
resistance. Here, the range of boredoms associated with our neoliberal moment is
contextualized in a long view which encompasses the political critique of boredom in
1960s France; the simultaneous aesthetic embrace in the USA of silence, repetition,
or indifference in Fluxus, Pop, Minimalism, and conceptual art; the development of
feminist diagnoses of malaise in art, performance and film; Punk's social critique
and its influence on theories of the postmodern; and the recognition from the end of
the 1980s of a specific form of ennui experienced in former communist states. Today,
with the emergence of new forms of labor alienation and personal intrusion,
deadening forces extend even further into subjective experience, making the divide
between a critical and an aesthetic use of boredom ever more tenuous.
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