By Marcia DeCoster
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The publication is split into four chapters:
Chapter 1: Card and Letter Holders (14 types) bankruptcy 2: to be used and ornament (12 types) bankruptcy three: Twinkling Stars (16 versions) bankruptcy four: programs (14 models)
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Whereas prior theorists held up “experience” because the defining personality of install artwork, few humans have had the chance to stroll via celebrated deploy items from the previous. as a substitute, deploy artwork of the prior is understood via archival images that restrict, outline, and body the event of the viewer.
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Additional info for Marcia DeCoster's Beaded Opulence: Elegant Jewelry Projects with Right Angle Weave
Art yet maintains its connections to the world in that it only “happens” in the actualization of the (aesthetic) event. Insisting on the dynamic presentness (as distinct from its representational dimension) of the artistic event, my project throughout this book is to trace the contours of a radical or neo-aesthetics that runs counter to art historical traditions that emphasize the autonomy of the artistic object, or the genius of the individual artist, or the merely pleasurable or edifying functions of art.
It is against this overall political and theoretical background that I turn my attention in this book to visual art as a site — for lack of a better term — where the “new” is most likely to arise and where emergent formations of becoming are primarily (although not exclusively) expressed in their affective operations. In light of the above, one may well ask why I have decided to focus on art in the narrow sense, and not on visual media in their wider implications, to address these issues. Art and aesthetic experience move us “beyond” what appears to be familiar reality; rather than affirming what we already know, art creates a rupture, forcing us to see and think things differently.
Writing against this background, and against that of an emerging avant-garde modernist movement that would equally, and perhaps even more fundamentally, call into question all classical distinctions and appreciations of art forms and genres, Bakhtin and Whitehead, each in his own way, and to divergent purposes, appear to respond — whether deliberately or not — to these developments by effectively foregrounding precisely those aspects of aesthetic activity that obtain in the sensual and perceptual body in its entirety, that is, on the prepersonal and presubjective level of affect, and thus provide a philosophical framework in which to place contemporary developments in the world of art and craft at large.