Between discipline and a hard place : the value of contemporary artPublisher: London ; New York : Bloomsbury Academic, 2020Description: xi, 277 pages : illustrations (black and white) ; 22 cmISBN:
- N6497 .J444 2020
|Item type||Current library||Collection||Call number||Status||Date due||Barcode|
|Book||Whitecliffe Library General Shelves||General||N 6497 JEL (Browse shelf(Opens below))||Available||0014152|
Includes bibliographical references and index.
1. First things first . -- 2. What is art? -- 3. Why discipline? -- 4. Art: A knowledge-forming discipline -- 5. Corporate censorship -- 6. Art in society. -- 7. Politics, ethics and art -- 8. Art and the other -- 9. Ecology.
1. First things first . -- Summary -- First things first . -- Art within neoliberalism -- Art as knowledge -- The personal is political -- Parameters, or what I'm trying to do -- Meaning-making -- The power of metaphor -- 2. What is art? -- Summary -- What is art? Artists and audiences -- A history of definitions of art -- Art as defined by art historians -- Anthropology and art -- Art and philosophy -- The art world -- 3. Why discipline? -- Summary -- Why discipline?; Neoliberal and liberal culture -- Disciplines, elites and pluralism -- Elites and expertise -- Communities and status -- 4. Art: A knowledge-forming discipline -- Summary -- Art: A knowledge-forming discipline -- Knowledge -- Adisciplinarity (=without or not discipline) -- Art -- Not art -- Academia -- Art and truth -- Knowledge -- Art knowledge and truth -- Concluding -- 5. Corporate censorship -- Corporate censorship -- Not censorship but something else: The art world -- Not censorship but something else: The market -- (Corporate) censorship -- The self-censoring artist -- 6. Art in society. -- Summary -- Art in Society -- Aesthetics -- Art and truth -- Complexity, nuance and truth -- Falsifiability, truth and democracy -- 7. Politics, ethics and art -- Summary -- Politics, ethics and art -- Politics as democracy -- Ethics -- Ethics and politics -- It's ethics and not morality -- Art, representation and ethics -- 8. Art and the other -- Summary -- Art and the other -- Ethics, the other and universities, Non-artist others: Sci-art and community art -- When artists write as artists -- 9. Ecology -- Summary -- Not genius, ecology -- Genius -- Art ecologically understood -- Types of art history: Population view -- Types of art history: Community view -- Types of art history: Examples of ecological narrations of art history -- Other types of change -- Not a teleology.
"Written from the perspective of a practising artist, this book proposes that, against a groundswell of historians, museums and commentators claiming to speak on behalf of art, it is artists alone who may define what art really is. Jelinek contends that while there are objects called 'art' in museums from deep into human history and from around the globe - from Hans Sloane's collection, which became the foundation of the British Museum, to Alfred Barr's inclusion of 'primitive art' within the walls of MoMA, the Museum of Modern Art - only those that have been made with the knowledge and discipline of art should rightly be termed as such. Policing the definition of art in this way is not to entrench it as an elitist occupation, but in order to focus on its liberal democratic potential. The Discipline of Art describes the value of art outside the current preoccupation with economic considerations yet without resorting to a range of stereotypical and ultimately instrumentalist political or social goods, such as social inclusion or education. A wider argument is also made for disciplinarity, as Jelinek discusses the great potential as well as the pitfalls of interdisciplinary and multidisciplinary working, particularly with the so-called 'creative' arts. A passionate treatise arguing for a new way of understanding art that forefronts the role of the artist and the importance of inclusion within both the concept of art and the art world"-- Provided by publisher.