Description
THE CRITICAL TURN IN ART
Book summary
This essay examines the complex and controversial relationship between contemporary art and politics over the last century. Through an analysis of key authors, works, and ideas, the author unfolds five complementary itineraries that explore everything from the political project of the Avant-gardes to the deconstruction of the official history of art. The book delves into the tension between the politics of art and the art of politics, the technological determinants of significant artistic projects, and appropriation as a creative strategy. All of this converges in a provocative thesis: the critical turn in art has failed, offering the reader a lucid and polemical perspective on the most defiant art.
What is it about?
Starting from a selection of authors, works, and ideas from the last hundred years, The Critical Turn in Art constructs a unique image of the controversial landscape of the theory and practice of the most defiant art. The book is structured into five complementary itineraries that allow the reader to explore the multiple facets of this relationship. First, the Avant-garde is invoked as a foundational political project. Next, a deconstruction of the official History of contemporary art is performed, questioning its established narratives. The core of the analysis focuses on the double bottom of the central issue: the politics of art versus the art of politics. Subsequently, the technological determinants that have shaped some of the most significant artistic projects are examined. Finally, appropriation is analyzed as a recurring creative strategy. The journey culminates with the conclusion that the critical turn in art, in its attempt to politicize artistic practice, has failed in its objectives.
Main themes
- The relationship between contemporary art and politics as a field of tension and controversy.
- The political project of the historical Avant-gardes and its legacy in current art.
- The deconstruction of the official History of contemporary art and its dominant narratives.
- The analysis of appropriation as a creative and critical strategy within political art.
- The impact of technological determinants on the defiant artistic production of the 20th and 21st centuries.
Who is it recommended for?
This book is aimed at students and professionals in art, aesthetics, and philosophy interested in critical theories of contemporary art. It will also be of great value to artists, curators, and critics seeking a profound and polemical reflection on the political commitment of artistic practice. Likewise, it is a recommended reading for any reader with intellectual interests who wishes to understand the tensions between creation, politics, and society in the art of the last hundred years.
What this book provides
- A structured and original vision of the evolution of political art throughout the 20th and early 21st centuries.
- A critical and provocative analysis that questions the success of the political turn in contemporary art.
- A guide to understanding key creative strategies, such as appropriation and deconstruction, in defiant art.
- A solid theoretical framework to analyze the relationship between technology, art, and politics in significant artistic projects.
Technical specifications
- Author: LUNA, DIEGO
- Publisher: ANTHROPOS
- Language: Spanish
- Subject: ART GENERAL ASPECTS, ART THEORY, ART HISTORY / ART AND DESIGN STYLES, ART HISTORY AND DESIGN STYLES: C. 1900, PHILOSOPHY: AESTHETICS
- Collection: THEORY AND HISTORY OF THE ARTS
- Edition date: April 2021
- Number of pages: 208
- Weight: 357 g
Editorial review
The Critical Turn in Art is presented as a rigorous and polemical essay that invites a rethinking of the foundations of committed contemporary art. Its main value lies in offering a clear and provocative thesis—the failure of the critical turn—which serves as a common thread for a well-structured analysis of key authors, works, and movements. For the specialized reader, the work provides a coherent theoretical framework and an original perspective that enriches the debate on the political function of art. It is, ultimately, a stimulating read for those who seek to go beyond conventional narratives and delve into the contradictions of the most defiant art.