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Artmaking in the Age of Global Capitalism
Visual Practices, Philosophy, Politics
by Jan Bryant
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Book Presentation:
Asks what political art look like today, and how art can act critically under neoliberalism
• Explores the political and economic forces that began changing social realities from the 1970s forward
• Digs down into these divisions to detail clashes between supposed writers, theorists and artists
• Includes 4 extended essays on practices that respond critically to contemporary political and economic conditions
• Offers an alternative approach to understanding art’s historical antecedents by avoiding received art-historical narratives or canonical figures
• Will appeal to cross-disciplinary readers who are looking for critical distance from disciplinary limitations or confinement
• Illustrated with photographs of works by Frances Bareett, Paul Klee, Jean Dubuffet, Angela Brennan, Alex Monteith and Sarah Munro
Jan Bryant looks at the strategies visual artists and filmmakers are using to criticise the social and economic conditions shaping our historical moment. She then assesses how the world is being positively re-imagined through their work today.
Located at the intersection of practice and theory, Bryant argues that an effective contemporary political aesthetics encompasses more than just analysis of a work’s conceptual or aesthetic reality. It should also consider the impact the artwork has at the point of reception, the methods adopted by the artists and the relationships they engender with communities.
About the Author:
Jan Bryant is Senior Lecturer in Theory of Art & Design at Monash University, Australia. She is the author of numerous catalogue essays and journal articles and has curated several international exhibitions.
Press Reviews:
Jan Bryant has reopened the question of the relationship between politics and art via a thorough investigation of contemporary philosophy and an important number of artistic practices. Moving beyond the sterility of the identification of art with conceptualism by investigating practices that remain attentive to art’s materiality, Bryant has written a book that will be equally important for practioners as well as those involved in the critical evaluation of contemporary art.– Andrew Benjamin, Kingston University London and University of Technology Sydney
See the publisher website: Edinburgh University Press
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