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Fred Forest's Utopia - Media Art and Activism (Hardcover)
Loot Price: R563
Discovery Miles 5 630
You Save: R180
(24%)
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Fred Forest's Utopia - Media Art and Activism (Hardcover)
Series: Leonardo
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List price R743
Loot Price R563
Discovery Miles 5 630
You Save R180 (24%)
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"France's most famous unknown artist," the innovative media
provocateur Fred Forest, precursor of Eduardo Kac, Jodi, the Yes
Men, RT Mark, and the Guerilla Girls. The innovative French media
artist and prankster-provocateur Fred Forest first gained notoriety
in 1972 when he inserted a small blank space in Le Monde, called it
150 cm2 of Newspaper (150 cm2 de papier journal), and invited
readers to fill in the space with their own work and mail their
efforts to him. In 1977, he satirized speculation in both the art
and real estate markets by offering the first parcel of officially
registered "artistic square meters" of undeveloped rural land for
sale at an art auction. Although praised by leading media
theorists-Vilem Flusser lauded Forest as "the artist who pokes
holes in media"-Forest's work has been largely ignored by the
canon-making authorities. Forest calls himself "France's most
famous unknown artist." In this book, Michael Leruth offers the
first book-length consideration of this iconoclastic artist,
examining Forest's work from the 1960s to the present. Leruth shows
that Forest chooses alternative platforms (newspapers, mock
commercial ventures, video-based interactive social interventions,
media hacks and hybrids, and, more recently, the Internet) that are
outside the exclusive precincts of the art world. A fierce critic
of the French contemporary art establishment, Forest famously sued
the Centre Pompidou in 1994 over its opaque acquisition practices.
After making foundational contributions to Sociological Art in the
1970s and the Aesthetics of Communication in the 1980s, the
pioneering Forest saw the Internet as another way for artists to
bypass the art establishment in the 1990s. Arguing that there is a
strong utopian quality in Forest's work, Leruth sees this
utopianism not as naive or conventional but as a reverse
utopianism: rather than envisioning an impossible ideal, Forest
reenvisions and probes the quasi-utopia of our media-augented
everyday reality. The interface is the symbolic threshold to be
crossed with an open mind.
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