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Voodoo Child The End Of Everything LP – CD Trophy Records

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James Voorhies Postsensual Aesthetics : On the Logic of the Curatorial

The field of contemporary art has proven to be a dynamic arena for theoretical thinking and research over the past thirty years. The contemporary exhibition has become a discursive space for dialogue among participants entering from a range of disciplines to work alongside artists and curators. Exhibitions by figures like Ute Meta Bauer, Carolyn Christov-Bakargiev, Okwui Enwezor, and Maria Lind, and work by such artists as Maria Thereza Alves, Amy Balkin, Heman Chong, Maria Eichhorn, Claire Pentecost, and Ines Schaber, show how advances in curating and publishing have contributed to the contemporary exhibition’s unprecedented expansion and influence on understanding and learning through art. Yet, while many artists and curators look to the book as a valuable consolidator for presenting archival- and research-based work, traditional aesthetics is indifferent to these multifaceted qualities of the contemporary exhibition form that bring content into the public realm through the cognitive activity of reading. Aesthetic value remains concerned with the sensual experience of the viewer and the autonomy of the discrete art object. The theoretical framework of “postsensual aesthetics” posed by Voorhies in his new book seeks to amplify and reposition methodologies by both artists and curators who foreground knowledge production. Postsensual Aesthetics takes a long perspective on this work, considering it as modes of mediation for public address—as expansive forms of exhibitions and, thus, as modes of curatorial production. Hessler and Voorhies will discuss these ideas and others proposed in the book, including thinking about how the exhibition could be seen as a composition of strategically coordinated elements that refuse to allow the physical site of exhibition to be the primary point of public contact.
  • Postsensual Aesthetics : On the Logic of the Curatorial
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