Peter Osborne, Anywhere or Not At All: Philosophy of Contemporary Art, Verso, London and New York, 2013. vi + 282 pp., £60.00 hb., £19.95 pb., 978 1 78168 113 8 hb., 978 1 78168 094 0 pb. Numbers in parentheses in the main text refer to page numbers of this book. ‘The coming together of different times that constitute the contemporary, and the relations between the social spaces in which […]
David Joselit, After Art, Princeton University Press, Princeton NJ and Oxford, 2012. 136 pp., £13.95 pb., 978 0 69115 044 4 In his new book David Joselit makes a clear case for a progressive art-politics of the future. He asks us to ‘take image diplomacy seriously and attempt to imagine how art can function as currency without falling into monetization’. This profitless mode of currency, a power ‘as real as […]
Parisian artist Claire Fontaine is a fraud, a forgery, her name casually lifted from a generic brand of school notebooks, her existence only present in the art that bears her signature. She was first brought to life in 2004 by Fulvia Carnevale and James Thornhill. She resides now in the neon gas, the video pixels, the found objects, the paper, the ink and the many languages that constitute her work. […]
Ben Watson assesses Beefheart’s work as a protest against those who profit from the very separation of elite and mass music.
Philip Derbyshire (‘Who Was Oscar Masotta? Psychoanalysisin Argentina’, RP 158) should be commended for his insightful consideration of the literary and psychoanalytic writings of Oscar Masotta, one of the most important Argentine intellectuals of the 1960s and 1970s. I would like to make a case for juxtaposing these texts with Masotta’s idiosyncratic and interdisciplinary explorations of aesthetics, which included actual artistic production between 1965 and1967 – years omitted from Derbyshire’s […]
As we settle further into the era of digital media and globalized visual culture, it might be tempting to think that photography holds no more than historical interest. Yet it continues to feature in debates with considerable significance for the present.1 The terms by which it was negotiated in the twentieth century – the print, the negative and the mechanical-optical apparatus, the affective experience of a moment stilled, and any […]