Collaborative and collective art practices have proliferated around the world over the past fifteen years. In The One and the Many, Grant H. Kester provides an overview of the broader continuum of col
Collaborative and collective art practices have proliferated around the world over the past fifteen years. In The One and the Many, Grant H. Kester provides an overview of the broader continuum of col
"A definitive study of a coherent and fascinating set of art practices. Kester makes the concept of dialogical art more textured and complex with each new work he discusses, providing both richness of
In The Sovereign Self, Grant H. Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy--the sense that the art should be autonomous from social forces while retaining the ability to reflect back critically on society--through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has
"A definitive study of a coherent and fascinating set of art practices. Kester makes the concept of dialogical art more textured and complex with each new work he discusses, providing both richness of
Some of the most innovative art of the past decade has been created far outside conventional galleries and museums. In a parking garage in Oakland, California; on a pleasure boat on the Lake of Zurich
In Collective Situations scholars, artists, and art collectives present a range of socially engaged art practices that emerged in Latin America during the Pink Tide period between 1995 and 2010. This
In Collective Situations scholars, artists, and art collectives present a range of socially engaged art practices that emerged in Latin America during the Pink Tide period between 1995 and 2010. This
There is a common perception in the arts today that overtly activist art‘often seen to sacrifice an aesthetic pleasure for a subversive one‘is no longer in fashion. In bringing together sixteen of t
