Art'S Realism in the Post-Truth Era

• Utgivningsdatum: 2024-05-31
• Mått: 210 x 210 x 38 mm
• Vikt: 1 092 g
• Format: Inbunden
• Språk: Engelska
• Serie: Refractions
• Antal sidor: 352
• Förlag: Edinburgh University Press
• ISBN: 9781399524117

• Konstteori
• Filosofiska discipliner

Maryse Ouellet is Research Associate in the Department of Media Studies at the University of Bonn. Her publications include: 'A Realist Aesthetic of the Sublime: Art, Environment and the Cultural Logic of the Anthropocene' in Liquidity, Flows, Circulation: The Cultural Logic of Environmentalization (Diaphanes, 2022); ‘Within Aesthetic Distance: Artistic Critique, From Activism to Eco-Realism’ (Konsthistorisk tidskrift, vol. 89, no.2, 2020); and ‘Par-delà le naturalisme: médiatisation du sublime dans les oeuvres d’Olafur Eliasson et Ryoji Ikeda’ (RACAR, vol. 41, no 2, 2016). Amanda Boetzkes is Professor of Contemporary Art History and Theory at the University of Guelph. She is the author of Plastic Capitalism: Contemporary Art and the Drive to Waste (MIT Press, 2019), The Ethics of Earth Art (University of Minnesota Press, 2010), as well as coeditor of of Artworks for Jellyfish and Other Others (Noxious Sector Press, 2022) and Heidegger and the Work of Art History (Ashgate, 2014). She has published in the journals Afterimage; South Atlantic Quarterly; Postmodern Culture; Art History; E-flux; Polygraph; and Antennae: The Journal of Nature and Visual Culture among others. Recent book chapters appear in Grey on Grey: Nervous Systems: Art, Systems, and Politics Since the 1960s (Duke University Press, 2021), Climate Realism (Routledge, 2021); Gray on Gray: At the Threshold of Philosophy and Art (Edinburgh University Press, 2023), The Edinburgh Companion for Animal Studies (Edinburgh University Press, 2017); and Art in the Anthropocene: Encounters Among Politics, Aesthetics, Environments and Epistemologies (Open Humanities Press, 2015).

Art’s Realism in the Post-Truth Era insists on art’s power to recapture the political and agentic potential of realism.　 Rather than promote realism as a mode of representing reality, the authors compellingly position art at the vanguard for realism’s potential to mediate new relationships to what reality conceals.

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