What We Do Is Secret (Contemporary Art and the Antinomies of Conspiracy)
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Product Details
Author:
Larne Abse Gogarty, Hannah Black
Format:
Paperback
Pages:
184
Publisher:
MIT Press (June 6, 2023)
Language:
English
ISBN-13:
9783956795626
ISBN-10:
3956795628
Weight:
9.5oz
Dimensions:
5.25" x 8.3" x 0.69"
File:
RandomHouse-PRH_Book_Company_PRH_PRT_Onix_full_active_D20260705T120206_156890263-20260705.xml
Folder:
RandomHouse
List Price:
$25.00
Series:
Sternberg Press / The Antipolitical
Case Pack:
22
As low as:
$19.25
Publisher Identifier:
P-RH
Discount Code:
A
QuickShip:
Yes
Audience:
General/trade
Country of Origin:
Estonia
Pub Discount:
65
Imprint:
Sternberg Press
Overview
On the aesthetic and intellectual affinities between recent art and conspiracy.
Written in the wake of the far-right populist turn in Europe, the US, and beyond, What We Do Is Secret addresses aesthetic and intellectual affinities between recent art and conspiracy, proposing a theory of conspiracy that is not primarily concerned with conspiracy theory. This inquiry takes shape across chapters on the politics of post-internet art aesthetics; the sublime and possessive individualism in recent “critical” art; Cady Noland’s security fences, and silkscreens of the Symbionese Liberation Army; and mutuality, secrecy, and improvisation in the work of Ima-Abasi Okon. Larne Abse Gogarty discusses the relationship between culture and contemporary politics, following on from David Lloyd’s proposition that through its compensatory qualities, the aesthetic sphere naturalizes forms of life lived under the rule of property. What kind of art can work against this? Can art exist as a conspiracy capable of corroding that rule?
Written in the wake of the far-right populist turn in Europe, the US, and beyond, What We Do Is Secret addresses aesthetic and intellectual affinities between recent art and conspiracy, proposing a theory of conspiracy that is not primarily concerned with conspiracy theory. This inquiry takes shape across chapters on the politics of post-internet art aesthetics; the sublime and possessive individualism in recent “critical” art; Cady Noland’s security fences, and silkscreens of the Symbionese Liberation Army; and mutuality, secrecy, and improvisation in the work of Ima-Abasi Okon. Larne Abse Gogarty discusses the relationship between culture and contemporary politics, following on from David Lloyd’s proposition that through its compensatory qualities, the aesthetic sphere naturalizes forms of life lived under the rule of property. What kind of art can work against this? Can art exist as a conspiracy capable of corroding that rule?
