Konstfacks bibliotek

*00001300nam a22004457a 4500
*00125287
*007|||||||||||||||||||||||
*008110824s2007    xxk    | b    001 0 eng c
*020  $a1844671674
*020  $a9781844671670
*020  $a9781844671670
*020  $a9781844671632 (hbk.)
*020  $a9781844671632
*020  $a1844671631 (hbk.)
*020  $a1844671631
*020  $a1844671674 (pbk.)
*035  $a(Ko)29191
*084  $aIaa
*1001 $aRoberts, John,$d1955-
*24514$aThe intangibilities of form :$bskill and deskilling in art after the readymade  /$cJohn Roberts
*260  $aLondon ;$aNew York ;$a2007 :$bVerso ,$c2007
*300  $a249 p.  :$c24 cm.
*504  $aIncludes bibliographical references (p. [229]-237) and index.
*650 4$aConceptual art.
*650 4$aAvant-garde (Aesthetics)
*650 4$aKonceptkonst
*653  $aHantverksskicklighet
*8520 $hKONST -  Iaa
*950  $aModern konst
*950  $aKonceptkonst
*950  $aPerformance
*950  $aKonceptkonst
*950  $aArtists' books
*950  $aKonceptkonst
*950  $aMail art
*950  $aKonceptkonst
^

In this intellectually wide-ranging book John Roberts develops a labor theory of culture as a model for explaining the dynamics of avant-garde art and the expansion of artistic authority in the twentieth and twenty-first centuries.

From Duchamp to Warhol, conceptual art, and the "post-visual" practices of the moment, Roberts explores the relationship between artistic labor and productive labor, and the limits and possibilities of authorship. In doing so, he confronts a recurring theme of both conservative and radical detractors of modern art in the twentieth and twenty-first centuries: how is skill, and the seeming absence of skill in modern art, to be theorized and evaluated? Drawing on cognitive psychology, labor process theory, social anthropology, and debates in contemporary political philosophy, Roberts' book establishes a new critical topography for examining the cultural form of art today.

• Prefacep. 1
• Introduction: Replicants and Cartesiansp. 9
• The Commodity, the Readymade and the Value-Formp. 21
• Modernism, Repetition and the Readymadep. 49
• Deskilling, Reskilling and Artistic Labourp. 81
• The Post-Cartesian Artistp. 101
• Surrogates, Prosthetes and Amateursp. 139
• Situational Authorship, Diffuse Aesthetics and Network Theoryp. 165
• Art, Immaterial Labour and the Critique of Valuep. 201
• Afterword: Reproducibility and the Handp. 227
• Bibliographyp. 229
• Indexp. 239