Anywhere or Not at All: Philosophy of Contemporary Art
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Contemporary art is the object of inflated and widely divergent claims. But what kind of discourse can open it up effectively to critical analysis? Anywhere or Not at All is a major philosophical intervention in art theory that challenges the terms of established positions through a new approach at once philosophical, historical, social and art-critical. Developing the position that “contemporary art is postconceptual art,” the book progresses through a dual series of conceptual constructions and interpretations of particular works to assess the art from a number of perspectives: contemporaneity and its global context; art against aesthetic; the Romantic pre-history of conceptual art; the multiplicity of modernisms; transcategoriality; conceptual abstraction; photographic ontology; digitalization; and the institutional and existential complexities of art-space and art-time. Anywhere or Not at All maps out the conceptual space for an art that is both critical and contemporary in the era of global capitalism.
2002; T.J. Clark, Farewell to an Idea: Episodes from a History of Modernism, New Haven, CT: Yale University Press, 1999; and The Sight of Death: An Experiment in Art Writing, New Haven, CT: Yale University Press, 2006. 13 Rosenberg, ‘Criticism and its Premises’, p. 148. 14 Jean-Marie Schaeffer, Art of the Modern Age, trans. Steven Rendall, Princeton, NJ: Princeton University Press, 2000, p. 3. 15 Ibid., pp. 4–5. 16 Arthur Danto, ‘The End of Art’, in The Philosophical Disenfranchisement of
Technological Reproducibility’ [Second Version, 1936], in Selected Writings, Volume 3, pp. 101–33, 108); in the third version it appears as ‘the evaluating attitude’ (Selected Writings, Volume 4, p. 269). Interestingly, these are the sections in which there is the greatest difference between the two versions. 39 Ellen Seifermann and Christine Kintisch, ‘Forward’, Romantic Conceptualism, p. 7. 40 Osborne, ‘Painting Negation’. 41 Quoted in the Foreword to Gerhard Richter: Panorama. A
Categories’, in Futures Past: On the Semantics of Historical Time, trans. Keith Tribe, Cambridge, MA: MIT Press, 1985, pp. 267–88. 67 Hans-George Gadamer, Truth and Method, London: Sheed and Ward, 1975, pp. 267–274. Gadamer here follows Nietzsche in ‘his complaint against historicism that it destroyed the horizon bounded by myth in which culture alone is able to live.’ 68 Koselleck, ‘“Space of Experience” and “Horizon of Expectation”’, p. 276. 69 Ibid., p. 275. 70 See Peter Osborne,
of Psychology, Vol. 5 (1912), pp. 87–118. Bürger, Peter, Theory of the Avant-Garde, trans. Michael Shaw, Minneapolis: University of Minnesota Press, 1984. Butler, Cornelia, ‘A Lurid Presence: Smithson’s Legacy and Post-Studio Art’ in Robert Smithson, Los Angeles: Museum of Contemporary Art; Berkeley: University of California Press, 2004, pp. 224–48. Cabanne, Pierre, Dialogues with Marcel Duchamp (1967), trans. Ron Padgett, New York: Da Capo Press, 1987. Cacciari, Massimo, Architecture and
forms and a polemical relation to the social content of the now-global media. In the first case, pixelizing the images through the massive enlargement of print-processing errors. In the latter case, by a return to photojournalistic source images: The Hunt for the Taliban and Al Qaeda (2002), an investigative journalistic diagram, for example, and Risk Game (2002), a machine painting on fabric of American marines playing the board game of world domination, Risk, on a ship in the Gulf of Aden.