Each of the five volumes in the Stone Art Theory Institutes series,
and the seminars on which they are based, brings together a range
of scholars who are not always directly familiar with one another's
work. The outcome of each of these convergences is an extensive and
"unpredictable conversation" on knotty and provocative issues about
art. This fourth volume in the series, Beyond the Aesthetic and the
Anti-Aesthetic, focuses on questions revolving around the concepts
of the aesthetic, the anti-aesthetic, and the political. The book
is about the fact that now, almost thirty years after Hal Foster
defined the anti-aesthetic, there is still no viable alternative to
the dichotomy between aesthetics and anti- or nonaesthetic art. The
impasse is made more difficult by the proliferation of identity
politics, and it is made less negotiable by the hegemony of
anti-aesthetics in academic discourse on art. The central question
of this book is whether artists and academicians are free of this
choice in practice, in pedagogy, and in theory. The contributors
are Stephanie Benzaquen, J. M. Bernstein, Karen Busk-Jepsen, Luis
Camnitzer, Diarmuid Costello, Joana Cunha Leal, Angela Dimitrakaki,
Alexander Dumbadze, T. Brandon Evans, Geng Youzhuang, Boris Groys,
Beata Hock, Gordon Hughes, Michael Kelly, Grant Kester, Meredith
Kooi, Cary Levine, Sunil Manghani, William Mazzarella, Justin
McKeown, Andrew McNamara, Eve Meltzer, Nadja Millner-Larsen, Maria
Filomena Molder, Carrie Noland, Gary Peters, Aaron Richmond, Lauren
Ross, Toni Ross, Eva Schurmann, Gregory Sholette, Noah Simblist,
Jon Simons, Robert Storr, Martin Sundberg, Timotheus Vermeulen, and
Rebecca Zorach.
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