Art's properties:
A revisionist reading of modern art that examines how artworks are captured as property to legitimize powerIn this provocative new account, David Joselit shows how art from the nineteenth to the twenty-first centuries began to function as a commodity, while the qualities of the artist, nation, or pe...
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | Englisch |
| Veröffentlicht: |
Princeton ; Oxford
Princeton University Press
[2023]
|
| Schlagwörter: | |
| Links: | https://doi.org/10.1515/9780691236056?locatt=mode:legacy https://doi.org/10.1515/9780691236056 |
| Zusammenfassung: | A revisionist reading of modern art that examines how artworks are captured as property to legitimize powerIn this provocative new account, David Joselit shows how art from the nineteenth to the twenty-first centuries began to function as a commodity, while the qualities of the artist, nation, or period themselves became valuable properties. Joselit explores repatriation, explaining that this is not just a contemporary conflict between the Global South and Euro-American museums, noting that the Louvre, the first modern museum, was built on looted works and faced demands for restitution and repatriation early in its history. Joselit argues that the property values of white supremacy underlie the ideology of possessive individualism animating modern art, and he considers issues of identity and proprietary authorship.Joselit redefines art's politics, arguing that these pertain not to an artwork's content or form but to the way it is "captured," made to represent powerful interests-whether a nation, a government, or a celebrity artist collected by oligarchs. Artworks themselves are not political, but occupy at once the here and now and an "elsewhere"-an alterity-that can't ever be fully appropriated. The history of modern art, Joselit asserts, is the history of transforming this alterity into private property.Narrating scenes from the emergence and capture of modern art-touching on a range of topics that include the Byzantine church, French copyright law, the 1900 Paris Exposition, W.E.B. Dubois, the conceptual artist Adrian Piper, and the controversy over Dana Schutz's painting Open Casket-Joselit argues that the meaning of art is its infinite capacity to generate experience over time |
| Umfang: | 1 Online-Ressource (xviii, 148 Seiten, 16 ungezählte Seiten Tafeln) Illustrationen |
| ISBN: | 9780691236056 |
| DOI: | 10.1515/9780691236056 |
Internformat
MARC
| LEADER | 00000nam a2200000zc 4500 | ||
|---|---|---|---|
| 001 | BV048828638 | ||
| 003 | DE-604 | ||
| 005 | 20240312 | ||
| 007 | cr|uuu---uuuuu | ||
| 008 | 230224s2023 xx a||| o|||| 00||| eng d | ||
| 020 | |a 9780691236056 |9 978-0-691-23605-6 | ||
| 024 | 7 | |a 10.1515/9780691236056 |2 doi | |
| 035 | |a (ZDB-23-DGG)9780691236056 | ||
| 035 | |a (OCoLC)1371321074 | ||
| 035 | |a (DE-599)BVBBV048828638 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-20 | ||
| 082 | 0 | |a 701 |2 23//eng/20220720eng | |
| 100 | 1 | |a Joselit, David |d ca. 20. Jh. |e Verfasser |0 (DE-588)188395563 |4 aut | |
| 245 | 1 | 0 | |a Art's properties |c David Joselit |
| 264 | 1 | |a Princeton ; Oxford |b Princeton University Press |c [2023] | |
| 264 | 4 | |c © 2023 | |
| 300 | |a 1 Online-Ressource (xviii, 148 Seiten, 16 ungezählte Seiten Tafeln) |b Illustrationen | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b c |2 rdamedia | ||
| 338 | |b cr |2 rdacarrier | ||
| 520 | |a A revisionist reading of modern art that examines how artworks are captured as property to legitimize powerIn this provocative new account, David Joselit shows how art from the nineteenth to the twenty-first centuries began to function as a commodity, while the qualities of the artist, nation, or period themselves became valuable properties. Joselit explores repatriation, explaining that this is not just a contemporary conflict between the Global South and Euro-American museums, noting that the Louvre, the first modern museum, was built on looted works and faced demands for restitution and repatriation early in its history. Joselit argues that the property values of white supremacy underlie the ideology of possessive individualism animating modern art, and he considers issues of identity and proprietary authorship.Joselit redefines art's politics, arguing that these pertain not to an artwork's content or form but to the way it is "captured," made to represent powerful interests-whether a nation, a government, or a celebrity artist collected by oligarchs. Artworks themselves are not political, but occupy at once the here and now and an "elsewhere"-an alterity-that can't ever be fully appropriated. The history of modern art, Joselit asserts, is the history of transforming this alterity into private property.Narrating scenes from the emergence and capture of modern art-touching on a range of topics that include the Byzantine church, French copyright law, the 1900 Paris Exposition, W.E.B. Dubois, the conceptual artist Adrian Piper, and the controversy over Dana Schutz's painting Open Casket-Joselit argues that the meaning of art is its infinite capacity to generate experience over time | ||
| 650 | 7 | |a ART / Criticism |2 bisacsh | |
| 650 | 4 | |a Art |x Philosophy | |
| 650 | 0 | 7 | |a Kunst |0 (DE-588)4114333-4 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Ästhetik |0 (DE-588)4000626-8 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Kunstwerk |0 (DE-588)4123592-7 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Kunst |0 (DE-588)4114333-4 |D s |
| 689 | 0 | 1 | |a Kunstwerk |0 (DE-588)4123592-7 |D s |
| 689 | 0 | 2 | |a Ästhetik |0 (DE-588)4000626-8 |D s |
| 689 | 0 | |5 DE-604 | |
| 776 | 0 | 8 | |i Erscheint auch als |n Druck-Ausgabe |z 978-0-691-23604-9 |w (DE-604)BV049000120 |
| 856 | 4 | 0 | |u https://doi.org/10.1515/9780691236056 |x Verlag |z URL des Erstveröffentlichers |3 Volltext |
| 912 | |a ZDB-23-DGG | ||
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-034094225 | |
| 966 | e | |u https://doi.org/10.1515/9780691236056?locatt=mode:legacy |l DE-20 |p ZDB-23-DGG |q UBW_Einzelkauf |x Verlag |3 Volltext | |
Datensatz im Suchindex
| _version_ | 1824430904086364160 |
|---|---|
| adam_text | |
| any_adam_object | |
| author | Joselit, David ca. 20. Jh |
| author_GND | (DE-588)188395563 |
| author_facet | Joselit, David ca. 20. Jh |
| author_role | aut |
| author_sort | Joselit, David ca. 20. Jh |
| author_variant | d j dj |
| building | Verbundindex |
| bvnumber | BV048828638 |
| collection | ZDB-23-DGG |
| ctrlnum | (ZDB-23-DGG)9780691236056 (OCoLC)1371321074 (DE-599)BVBBV048828638 |
| dewey-full | 701 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 701 - Philosophy of fine & decorative arts |
| dewey-raw | 701 |
| dewey-search | 701 |
| dewey-sort | 3701 |
| dewey-tens | 700 - The arts |
| discipline | Kunstgeschichte |
| doi_str_mv | 10.1515/9780691236056 |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>00000nam a2200000zc 4500</leader><controlfield tag="001">BV048828638</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20240312</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">230224s2023 xx a||| o|||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780691236056</subfield><subfield code="9">978-0-691-23605-6</subfield></datafield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.1515/9780691236056</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-23-DGG)9780691236056</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1371321074</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV048828638</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-20</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">701</subfield><subfield code="2">23//eng/20220720eng</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Joselit, David</subfield><subfield code="d">ca. 20. Jh.</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)188395563</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Art's properties</subfield><subfield code="c">David Joselit</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Princeton ; Oxford</subfield><subfield code="b">Princeton University Press</subfield><subfield code="c">[2023]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">© 2023</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 Online-Ressource (xviii, 148 Seiten, 16 ungezählte Seiten Tafeln)</subfield><subfield code="b">Illustrationen</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">A revisionist reading of modern art that examines how artworks are captured as property to legitimize powerIn this provocative new account, David Joselit shows how art from the nineteenth to the twenty-first centuries began to function as a commodity, while the qualities of the artist, nation, or period themselves became valuable properties. Joselit explores repatriation, explaining that this is not just a contemporary conflict between the Global South and Euro-American museums, noting that the Louvre, the first modern museum, was built on looted works and faced demands for restitution and repatriation early in its history. Joselit argues that the property values of white supremacy underlie the ideology of possessive individualism animating modern art, and he considers issues of identity and proprietary authorship.Joselit redefines art's politics, arguing that these pertain not to an artwork's content or form but to the way it is "captured," made to represent powerful interests-whether a nation, a government, or a celebrity artist collected by oligarchs. Artworks themselves are not political, but occupy at once the here and now and an "elsewhere"-an alterity-that can't ever be fully appropriated. The history of modern art, Joselit asserts, is the history of transforming this alterity into private property.Narrating scenes from the emergence and capture of modern art-touching on a range of topics that include the Byzantine church, French copyright law, the 1900 Paris Exposition, W.E.B. Dubois, the conceptual artist Adrian Piper, and the controversy over Dana Schutz's painting Open Casket-Joselit argues that the meaning of art is its infinite capacity to generate experience over time</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">ART / Criticism</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Art</subfield><subfield code="x">Philosophy</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Kunst</subfield><subfield code="0">(DE-588)4114333-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Ästhetik</subfield><subfield code="0">(DE-588)4000626-8</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Kunstwerk</subfield><subfield code="0">(DE-588)4123592-7</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Kunst</subfield><subfield code="0">(DE-588)4114333-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Kunstwerk</subfield><subfield code="0">(DE-588)4123592-7</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Ästhetik</subfield><subfield code="0">(DE-588)4000626-8</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Erscheint auch als</subfield><subfield code="n">Druck-Ausgabe</subfield><subfield code="z">978-0-691-23604-9</subfield><subfield code="w">(DE-604)BV049000120</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1515/9780691236056</subfield><subfield code="x">Verlag</subfield><subfield code="z">URL des Erstveröffentlichers</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-23-DGG</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-034094225</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780691236056?locatt=mode:legacy</subfield><subfield code="l">DE-20</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UBW_Einzelkauf</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV048828638 |
| illustrated | Illustrated |
| indexdate | 2025-02-18T21:08:15Z |
| institution | BVB |
| isbn | 9780691236056 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034094225 |
| oclc_num | 1371321074 |
| open_access_boolean | |
| owner | DE-20 |
| owner_facet | DE-20 |
| physical | 1 Online-Ressource (xviii, 148 Seiten, 16 ungezählte Seiten Tafeln) Illustrationen |
| psigel | ZDB-23-DGG ZDB-23-DGG UBW_Einzelkauf |
| publishDate | 2023 |
| publishDateSearch | 2023 |
| publishDateSort | 2023 |
| publisher | Princeton University Press |
| record_format | marc |
| spelling | Joselit, David ca. 20. Jh. Verfasser (DE-588)188395563 aut Art's properties David Joselit Princeton ; Oxford Princeton University Press [2023] © 2023 1 Online-Ressource (xviii, 148 Seiten, 16 ungezählte Seiten Tafeln) Illustrationen txt rdacontent c rdamedia cr rdacarrier A revisionist reading of modern art that examines how artworks are captured as property to legitimize powerIn this provocative new account, David Joselit shows how art from the nineteenth to the twenty-first centuries began to function as a commodity, while the qualities of the artist, nation, or period themselves became valuable properties. Joselit explores repatriation, explaining that this is not just a contemporary conflict between the Global South and Euro-American museums, noting that the Louvre, the first modern museum, was built on looted works and faced demands for restitution and repatriation early in its history. Joselit argues that the property values of white supremacy underlie the ideology of possessive individualism animating modern art, and he considers issues of identity and proprietary authorship.Joselit redefines art's politics, arguing that these pertain not to an artwork's content or form but to the way it is "captured," made to represent powerful interests-whether a nation, a government, or a celebrity artist collected by oligarchs. Artworks themselves are not political, but occupy at once the here and now and an "elsewhere"-an alterity-that can't ever be fully appropriated. The history of modern art, Joselit asserts, is the history of transforming this alterity into private property.Narrating scenes from the emergence and capture of modern art-touching on a range of topics that include the Byzantine church, French copyright law, the 1900 Paris Exposition, W.E.B. Dubois, the conceptual artist Adrian Piper, and the controversy over Dana Schutz's painting Open Casket-Joselit argues that the meaning of art is its infinite capacity to generate experience over time ART / Criticism bisacsh Art Philosophy Kunst (DE-588)4114333-4 gnd rswk-swf Ästhetik (DE-588)4000626-8 gnd rswk-swf Kunstwerk (DE-588)4123592-7 gnd rswk-swf Kunst (DE-588)4114333-4 s Kunstwerk (DE-588)4123592-7 s Ästhetik (DE-588)4000626-8 s DE-604 Erscheint auch als Druck-Ausgabe 978-0-691-23604-9 (DE-604)BV049000120 https://doi.org/10.1515/9780691236056 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Joselit, David ca. 20. Jh Art's properties ART / Criticism bisacsh Art Philosophy Kunst (DE-588)4114333-4 gnd Ästhetik (DE-588)4000626-8 gnd Kunstwerk (DE-588)4123592-7 gnd |
| subject_GND | (DE-588)4114333-4 (DE-588)4000626-8 (DE-588)4123592-7 |
| title | Art's properties |
| title_auth | Art's properties |
| title_exact_search | Art's properties |
| title_full | Art's properties David Joselit |
| title_fullStr | Art's properties David Joselit |
| title_full_unstemmed | Art's properties David Joselit |
| title_short | Art's properties |
| title_sort | art s properties |
| topic | ART / Criticism bisacsh Art Philosophy Kunst (DE-588)4114333-4 gnd Ästhetik (DE-588)4000626-8 gnd Kunstwerk (DE-588)4123592-7 gnd |
| topic_facet | ART / Criticism Art Philosophy Kunst Ästhetik Kunstwerk |
| url | https://doi.org/10.1515/9780691236056 |
| work_keys_str_mv | AT joselitdavid artsproperties |