Autonomy

The Social Ontology of Art under Capitalism

Nonfiction, Religion & Spirituality, Philosophy, Aesthetics, Art & Architecture, General Art, Criticism, Fiction & Literature, Literary Theory & Criticism, Theory
Cover of the book Autonomy by Nicholas Brown, Duke University Press
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Author: Nicholas Brown ISBN: 9781478002673
Publisher: Duke University Press Publication: February 28, 2019
Imprint: Duke University Press Books Language: English
Author: Nicholas Brown
ISBN: 9781478002673
Publisher: Duke University Press
Publication: February 28, 2019
Imprint: Duke University Press Books
Language: English

In Autonomy Nicholas Brown theorizes the historical and theoretical argument for art's autonomy from its acknowledged character as a commodity. Refusing the position that the distinction between art and the commodity has collapsed, Brown demonstrates how art can, in confronting its material determinations, suspend the logic of capital by demanding interpretive attention. He applies his readings of Marx, Hegel, Adorno, and Jameson to a range of literature, photography, music, television, and sculpture, from Cindy Sherman's photography and the novels of Ben Lerner and Jennifer Egan to The Wire and the music of the White Stripes. He demonstrates that through their attention and commitment to form, such artists turn aside the determination posed by the demand of the market, thereby defeating the foreclosure of meaning entailed in commodification. In so doing, he offers a new theory of art that prompts a rethinking of the relationship between art, critical theory, and capitalism.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

In Autonomy Nicholas Brown theorizes the historical and theoretical argument for art's autonomy from its acknowledged character as a commodity. Refusing the position that the distinction between art and the commodity has collapsed, Brown demonstrates how art can, in confronting its material determinations, suspend the logic of capital by demanding interpretive attention. He applies his readings of Marx, Hegel, Adorno, and Jameson to a range of literature, photography, music, television, and sculpture, from Cindy Sherman's photography and the novels of Ben Lerner and Jennifer Egan to The Wire and the music of the White Stripes. He demonstrates that through their attention and commitment to form, such artists turn aside the determination posed by the demand of the market, thereby defeating the foreclosure of meaning entailed in commodification. In so doing, he offers a new theory of art that prompts a rethinking of the relationship between art, critical theory, and capitalism.

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