AESTHETICS FOR BIRDS

Aesthetics and Philosophy of Art for Everyone


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“TRAUMA-FEEDING”: WHY IT’S NOT OKAY TO EXPLOIT TRAUMA IN ART

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Room, Cité Universitaire, Paris, with Al Ghazali quotation:
“I follow love’s caravan wherever it goes. For love is my religion and my faith.” (2006)

What follows is a guest post by Jeremy Bendik-Keymer & Misty Morrison. It also appears cross-posted at the Cleveland Review of Books.

We want to draw attention to a practice inside contemporary artistic practices and to suggest a set of considerations that could gradually change it, for we take it to be morally dishonest and aesthetically compromised. We call this practice “trauma-feeding.” The expression is our invention. We think trauma-feeding is enmeshed in corrupt conditions in the economy of contemporary art so that to talk about it is to talk inevitably about the institutional framing of artistic practice in an art economy that cultivates practices, habits, and sensibilities that allow artists to hustle their way to success in a neoliberal economy structured by gross inequality of wealth and of capabilities. With trauma-feeding, their mode of hustle is parasitic (from para – alongside – sitos – food) on everyday people’s moral sensibilities. The hinge in our discussion is the relation between trauma-feeding, consumable spectacle, and viability in a neoliberal art economy, predicated off of everyday people’s moral sympathy. After explaining what we mean by “trauma-feeding” and relating it to the social-economic conditions to which we’ve alluded, we will argue that artists and institutions have a moral responsibility to deal with trauma differently, particularly by following through in responding to it. They should stop being morally dishonest and parasitic.

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ZOMBIE FORMALISM: OR, HOW FINANCIAL VALUES PERVADE THE ARTS

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Damien Hirst, Dantrolene (1994)

What follows is a guest post by Sarah Hegenbart.

Once upon a time, the month of June was jet-set season for the international artworld. After a meet and greet at the preview days at the Venice Biennale, which used to take place in early June, the crowd of artists, curators, critics, dealers, and collectors jumped on a plane, a train, or a yacht heading towards Basel, Switzerland. Basel wakes up at least once a year when astronomical amounts of money are paid for works so contemporary that the paint on the canvases has hardly finished drying. Or possibly even works that are such hot shit that they are not available yet because they are still on view in one of the national pavilions at the Venice Biennale. But the unavailability only increases the desire. (This is a pattern recognizable from other unhealthy relationships, too.) Knowing the economic laws of supply and demand, clever dealers strategically positioned themselves in the pavilions of the Venice Biennale to advertise their artistic assets. Continue reading


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WHAT’S SO WRONG WITH FREE EXPRESSION, ABUSIVE ART, AND UNDERSTANDING?

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What follows is a guest post by John Rapko about the recent Guggenheim Museum controversy.

The controversy

On Friday, September 22, a friend sent me an e-mail alerting me to an on-line petition. This time the issue was that the Guggenheim Museum in New York City had released a list of the names of the artists and their works to be included in the upcoming show “Art and China after 1989: Theater of the World.” Among the 150 works were three involving live animals, including a video of an installation by Sun Yuan and Peng Yu wherein dogs were strapped into opposing treadmills, where they ran in place, tugged, and snarled at each other to exhaustion. The two other pieces are by artists better-known outside China: a notorious piece by Huang Yong Ping, “Theater of the World”, which shows a large structure wherein many reptiles and insects have been placed, with the animals left to willy-nilly eat each other, fight for space, or make some kind of mutual accommodation; and a video by Xu Bing that shows a boar and a sow, each densely painted with nonsense–Chinese and –Roman characters, mating in a gallery. Thousands of people, including myself after a scanning, were signing the petition. The Guggenheim quickly released a statement urging people to consider the works as a document of their times, and to reflect upon the situation of the artists who were driven to make such works. The signing of the petition only quickened, and by Tuesday, September 26, when the Guggenheim announced that the works would not be shown, supposedly because of the threatening tone of many of the complaints about the show, the petition had garnered over half a million signatories. What had happened? Was it simply a matter of an internet mob hurling electronic threats of violence towards the museum’s employees that forced the otherwise unjustified withdrawal of the works, as the Guggenheim stated? Was the withdrawal further a cowardly capitulation to thugs with an impoverished understanding of animal rights and human rights, indeed “tragic for a modern society”, as the artist Ai Weiwei said? Is this an act of “censorship” violating the artists’ “right to free expression”, as Huang Yong Ping, the artist behind one of the allegedly objectionable works has urged? Or had an inexplicable category mistake been corrected, as implied by the countless objections that “animal torture is not art“?  Continue reading


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WONDER WORKS: RENOVATING ROMANTICISM ABOUT ART, BY JESSE PRINZ

Jesse Prinz is Distinguished Professor of Philosophy at the City University of New York, Graduate Center. His research focuses on the perceptual, emotional, and cultural foundations of human psychology. He is the author of Furnishing the Mind: Concepts and Their Perceptual Basis (MIT 2002), Gut Reactions: A Perceptual Theory of Emotion (Oxford 2004), The Emotional Construction of Morals (Oxford 2007), The Conscious Brain (Oxford 2012), Beyond Human Nature (Penguin 2012), and most recently, the forthcoming Works of Wonder: The Psychology and Ontology of Art (Oxford). Jesse also co-founded (with NYC mixed-media artist Rachel Bernstein) the art blog Art Bouillon. It is an honor and a true pleasure to have Jesse kick off the Guest Blogger Schedule here at Aesthetics for Birds.

Anish Kapoor, Leviathan

Among the many divides one can kind among competing theories of art, none sides wider and more ideologically entrenched than the gulf between experiential theories and various forms of institutionalism. Experiential theories say that something counts as art in virtue of the kind of experience it affords, such as a distinctive emotional state. Institutional theories emphasize the context of presentation–to a first approximation, something becomes art on this view when it is placed in a gallery, or the equivalent. Here I want to suggest, heretically, that the experiential theories are right, but also that they can be reconciled with the institutional approach.
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