Ethics / edited by Walead Beshty.

The boundary of a contemporary art object or project is no longer something that exists only in physical space; it also exists in social, political, and ethical space. Art has opened up to transnational networks of producers and audiences, migrating into the sphere of social and distributive systems...

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Bibliographic Details
Other Authors: Beshty, Walead, 1976- (Editor)
Other title:Ethics (M.I.T. Press)
Format: Book
Language:English
Published: Cambridge, Massachusetts : The MIT Press, 2015.
Series:Documents of contemporary art series.
Subjects:

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245 1 0 |a Ethics /  |c edited by Walead Beshty. 
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300 |a 239 pages ;  |c 21 cm. 
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490 1 |a Documents of contemporary art. 
504 |a Includes bibliographical references (pages 228-231) and index. 
505 0 |a LOCATING ETHICS, SITUATING AESTHETICS. An essay on the understanding of evil, 1993 / Alain Badiou -- Form-of-life, 1993 / Giorgio Agamben -- The distribution of the sensible: Politics and aesthetics, 2000 / Jacques Rancière -- Infinitely demanding: Ethics of commitment, politics of resistance, 2007 / Simon Critchley -- Just gaming, 1979 / Jean-François Lyotard and Jean-Loup Thébaud -- Relational aesthetics, 1998 / Nicolas Bourriaud -- On 'The contemporary', 2009 / Grant Kester -- Forensic architecture: Notes from fields and forums / Eyal Weizman -- TO CRITICIZE OR TO INTERVENE. Believers and cheaters, 2005 / Keller Easterling -- In conversation with Kellie Jones, 1986 / David Hammons -- In conversation with Deborah Menaker Rothschild, 1994 / David Hammons -- The concerns of art, 1979 / Martha Rosler -- An artist's statement, 1992 / Andrea Fraser -- Some paradoxes of political art, 2005 / Jacques Rancière -- There's no place like home, 2012 / Andrea Fraser -- The tail that wags the dog: A lecture for Art Center in Pasadena, not delivered, 2008 / Merlin Carpenter -- Market reflexivity after the bioeconomic turn: Andrea Fraser and Merlin Carpenter, 2009 / Isabelle Graw -- Letter to the editor, Texte zur Kunst, 2007 / Scorched Earth -- Response to Scorched Earth, 2007 / Isabelle Graw -- Because therefore, 2009 / Dexter Sinister -- Courtesy of Seth Price, 2009 / Seth Price -- Full emptiness, 1960 / Lygia Clark -- Position and programme, 1966 / Hélio Oiticica -- Humanity: Living structure of a biological and cellular architecture, 1971 / Lygia Clark -- Useful art works, 1969 / Eduardo Costa -- Reflections on Arte Útil, 2012 / Tania Bruguera -- Doing art politically: What does this mean?, 2008 / Thomas Hirschhorn -- Bic and political commitment, 2009 / Thomas Hirschhorn -- Antagonism and relational aesthetics, 2004 / Claire Bishop -- Waiting for Godot in New Orleans, 2007 / Paul Chan -- 
505 0 |a TO PRODUCE OR TO REFUSE. For an art against mythology of everyday life, 1979 / Martha Rosler -- No problem, 1986 / Martin Kippenberger and Albert Oehlen -- July 18-October 16, 1976, Ambiente arte, dal futurismo ad oggi, Venice Biennale, Venice, Italy, 1983 / Michael Asher -- January 15-February 10, 1977, Los Angeles Institute of Contemporary Art, Los Angeles, California, 1983 / Michael Asher -- On Roman Ondák: Crowd (2004), 2012 / Jens Hoffmann -- Ready-made artist and human strike: A few clarifications, 2005 / Claire Fontaine -- Why work?, 2010 / Liam Gillick -- Politics of art: Contemporary art and the transition to post-democracy, 2010 / Hito Steyerl -- Undoing: In conversation with Kathy Halbreich, 2009 / Paul Chan -- On the future of art school, 2007 / Frances Stark -- I can, I can't, who cares?, 2009 / Jan Verwoert -- On this situation (2007): In conversation with Hans Ulrich Obrist, 2011 / Tino Sehgal -- TO REPRESENT, TO MEDIATE OR TO DECEIVE. Shock-photos, 1969 / Roland Barthes -- Regarding the pain of others, 2003 / Susan Sontag -- The spectator is called to take part, 2008 / Ariella Azoulay -- Camera lucida, 1980 / Roland Barthes -- Look again: In conversation with Dominic Eichler, 2008 / Wolfgang Tillmans -- I march in the parade of liberty but as long as I love you I'm not free, 2007-8 / Sharon Hayes -- Towards a new institutional critique: In conversation with T.J. Demos, 2012 / Renzo Martens -- Artists come to create beauty and kindness: In conversation with Artur Zmijewski, 2012 / Renzo Martens -- On collaboration: In conversation with Sabine Eckmann, 2012 / Sharon Lockhart -- Rirkrit Tirabunnng, 1998 / Elizabeth Peyton -- Is the curator per definition a political animal?, 2010 / Nicolas Bourriaud, Enrico Lunghi, Paul O'Neill and Beatrix Ruf -- How to work better, 1991 / Fischli & Weiss -- Take care, 2011 / Anthony Huberman -- What about responsibility?, 2013 / Peter Eleey -- On the institutional kidnapping of Cady Noland and David Hammons. In conversation with Aaron Moulton, 2006 / Triple Candie -- On how to fall with grace - or fall flat on your face, 2006 / Mai Abu ElDahab -- Occupational hazards of modern art and museums: A conversation with Khaled Hourani, 2011 / Rasha Salti -- Institutional anxieties: Mass MoCA versus Christoph Büchel / Ruba Katrib -- In search of the miraculous: In conversation with Achim Borchardt-Hume, 2010 / Walid Raad. 
520 |a The boundary of a contemporary art object or project is no longer something that exists only in physical space; it also exists in social, political, and ethical space. Art has opened up to transnational networks of producers and audiences, migrating into the sphere of social and distributive systems, whether in the form of "relational aesthetics" or other critical reinventions of practice. Art has thus become increasingly implicated in questions of ethics. Beshty evaluates the relation of ethics to aesthetics, and demonstrates how this encounter has become central to the contested space of much recent art. He brings together theoretical foundations for an ethics of aesthetics; appraisals of art that engages with ethical issues; statements and examples of methodologies adopted by a diverse range of artists; and examinations of artworks that question the ethical conditions in which contemporary art is produced and experienced. 
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650 7 |a Kunst.  |2 gnd. 
650 7 |a Ästhetik.  |2 gnd. 
650 7 |a Ethik.  |2 gnd. 
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