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In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and extends from a malign condition to be struggled against, to an experience to be embraced, or explored as a site of resistance. This anthology explores this history: from the political critique of boredom in 1960s France; silence, repetition or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance and film; Punks social critique and its influence on theories of the postmodern; and the recognition from the end of the 1980s of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labour 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.

7.01 --- Kunst ; theorie, filosofie, esthetica --- Kunsttheorie ; over verveling ; onverschilligheid ; vervreemding --- Beeldende kunst ; 20ste en 21ste eeuw --- Contemporary [style of art] --- boredom --- Art --- Emotions in art. --- Boredom. --- Art and Design. --- art theory --- Boredom --- Emotions in art --- Art, Modern --- Iconographie --- Art contemporain --- Critique des modèles économiques et sociaux --- Themes, motives --- Kunst --- kunsttheorie --- hedendaagse kunst --- verveling --- kunstenaarspraktijk --- praxis --- kunst --- 130.2 --- 7.039 --- kunst en economie --- kunst en politiek --- 7.038/039 --- 7.038 --- cultuurfilosofie --- twintigste eeuw --- eenentwintigste eeuw --- creativiteit --- Art, Modern - Themes, motives

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Radicalism. --- Art, Modern --- Radicalism --- Sociology & Social History --- Social Sciences --- Social Conditions --- Modern art --- Nieuwe Ploeg (Group of artists) --- Extremism, Political --- Ideological extremism --- Political extremism --- Political science --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Modernism (Art) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Debord, Guy, --- Debord, G. --- D̲empor, Gky, --- Internationale situationniste. --- Debord, Guy

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France --- France --- France --- Intellectual life --- Cultural policy --- Politics and government

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Pryde, Josephine --- Quinlan, Eileen --- Abeles, Michele --- Kelm, Annette

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Internationally renowned artist and self-described "still-life photographer" Eileen Quinlan (born 1972) uses medium- and large-format analog cameras to create abstract photographs, working the film with steel wool or lengthy chemical processing. Among the subjects of her photographs are smoke, mirrors, Mylar, colored lights and other photographs. Featuring color reproductions and in-depth critical essays by Mark Godfrey and Tom McDonough, this book surveys Quinlan’s use of Polaroid film from 2006 to 2017. Initially used as a tool for proofing, Quinlan’s Polaroids can be seen as sketches, moments in which crucial formal and conceptual questions were explored and worked out. Moving through her extensive archive, one can find the origins of almost every larger body of work, as well as many ideas that remained in the repository, evidencing the artist’s desire to push beyond the constraints of her apparatus.

Photography --- Quinlan, Eileen --- Photography, Artistic --- kunst --- fotografie --- eenentwintigste eeuw --- Quinlan Eileen --- polaroidfotografie --- portretfotografie --- polaroids --- abstracte fotografie --- 77.071 QUINLAN --- Artistic photography --- Photography, Pictorial --- Pictorial photography --- Art --- Aesthetics --- Quinlan, Eileen,