TY - BOOK ID - 14602979 TI - Boredom AU - Mc Donough, Tom AU - Blazwick, Iwona PY - 2017 VL - Boredom SN - 9780854882526 9780262533447 0854882529 0262533448 PB - Cambridge, Mass.: MIT Press, Whitechapel Gallery, DB - UniCat KW - 7.01 KW - Kunst ; theorie, filosofie, esthetica KW - Kunsttheorie ; over verveling ; onverschilligheid ; vervreemding KW - Beeldende kunst ; 20ste en 21ste eeuw KW - Contemporary [style of art] KW - boredom KW - Art KW - Emotions in art. KW - Boredom. KW - Art and Design. KW - art theory KW - Boredom KW - Emotions in art KW - Art, Modern KW - Iconographie KW - Art contemporain KW - Critique des modèles économiques et sociaux KW - Themes, motives KW - Kunst KW - kunsttheorie KW - hedendaagse kunst KW - verveling KW - kunstenaarspraktijk KW - praxis KW - kunst KW - 130.2 KW - 7.039 KW - kunst en economie KW - kunst en politiek KW - 7.038/039 KW - 7.038 KW - cultuurfilosofie KW - twintigste eeuw KW - eenentwintigste eeuw KW - creativiteit KW - Art, Modern - Themes, motives KW - Mouvement moderne KW - Minimalisme KW - Art minimal KW - Art conceptuel KW - Fluxus KW - Pop Art KW - Sociologie du travail UR - https://www.unicat.be/uniCat?func=search&query=sysid:14602979 AB - Boredom in modern and contemporary art: as something to be struggled against, embraced as an experience, or explored as a potential site of resistance. Without boredom, arguably there is no modernity. The current sense of the word emerged simultaneously with industrialization, mass politics, and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And starting with modernism's retreat into abstraction through subsequent demands placed on audiences, from the late 1960s to the present, the viewer's endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going. In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and exists along a spectrum stretching from a malign condition to be struggled against to an something to be embraced or explored as a site of resistance. This anthology contextualizes the range of boredoms associated with our neoliberal moment, taking a long view that encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the United States of silence, repetition, or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance, and film; punk's social critique and its influence on theories of the postmodern; and the recognition, beginning at the end of the 1980s, of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labor alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous. ER -