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    Acknowledgments vii

    Introduction 1

    Part One. Rethinking Aesthetics

    Contemporary Art and the Politics of Aesthetics / Jacques Rancière 31

    The Romantic Art Work / Alexander Potts 51

    From Classical to Postclassical Beauty: Institutional Critique and Aesthetic Enigma in Louise Lawler's Photography / Toni Ross 79

    Technologies of Belonging: Sensus Communis, Disidentification / Ranjana Khanna 111

    Part Two. Partitioning the Sensible

    Dada's Event: Paris, 1921 / T. J. Demos 135

    Citizen Cursor / David Joselit 153

    Mass Customization: Corporate Architecture and the "End" of Politics / Reinhold Martin 172

    Post-Communist Notes on Some Vertov Stills / Yates McKee 197

    Part Three. The Limits of Community

    Experimental Communities / Carlos Basualdo and Reinaldo Laddaga 215

    Prècaritè, Autoritè, Autonomie / Rachel Haidu 238

    Neo-Dada 1951-54: Between the Aesthetics of Persecution and the Politics of Identity / Seth McCormick 267

    Thinking Red: Ethical Militance and the Group Subject / Emily Apter 294

    Interview with Étienne Balibar 317

    Bibliography 337

    Contributors 355

    Index 359
  • Emily Apter

    Jacques Rancière

    Alexander Potts

    Toni Ross

    Ranjana Khanna

    T. J. Demos

    David Joselit

    Reinhold Martin

    Yates McKee

    Carlos Basualdo

    Seth McCormick

    Rachel Haidu

    Étienne Balibar

    Reinaldo Laddaga

  • “[T]he editors and contributors are to be commended for engaging with a dynamic and much-contested approach to art, and doing so at an early stage of its reception in the Anglophone world. The editors’ introductory essay is a helpful positioning of this perspective, explaining how it relates to debates regarding modernism, postmodernism, relational aesthetics and other attempts to rehabilitate notions from the aesthetic tradition. . . . And Rancière’s essay is one of the best introductions to his recent work on the import of the history of aesthetics and the logics at work in contemporary art.”

    “[A] provocative and wide ranging exploration of Jacques Ranciere’s (2006) controversial assertion that ‘politics is aesthetic in principle’ (p. 58) Although focusing largely on the discipline of art history, Communities also has a broad appeal for those interested in the connections between aesthetic philosophy, social theory, and art practices. Bookended with provocative essays by Ranciere and Etienne Balibar, the collection offers new insights into contemporary art, aesthetic theory, global citizenship, postcolonialism, architecture, and film studies. Just as Ranciere’s own writings encourage interdisciplinary hybridization that challenge canonical divisions between disciplines, so too the form of Communities embodies this fundamental political and scholarly commitment.”

    Reviews

  • “[T]he editors and contributors are to be commended for engaging with a dynamic and much-contested approach to art, and doing so at an early stage of its reception in the Anglophone world. The editors’ introductory essay is a helpful positioning of this perspective, explaining how it relates to debates regarding modernism, postmodernism, relational aesthetics and other attempts to rehabilitate notions from the aesthetic tradition. . . . And Rancière’s essay is one of the best introductions to his recent work on the import of the history of aesthetics and the logics at work in contemporary art.”

    “[A] provocative and wide ranging exploration of Jacques Ranciere’s (2006) controversial assertion that ‘politics is aesthetic in principle’ (p. 58) Although focusing largely on the discipline of art history, Communities also has a broad appeal for those interested in the connections between aesthetic philosophy, social theory, and art practices. Bookended with provocative essays by Ranciere and Etienne Balibar, the collection offers new insights into contemporary art, aesthetic theory, global citizenship, postcolonialism, architecture, and film studies. Just as Ranciere’s own writings encourage interdisciplinary hybridization that challenge canonical divisions between disciplines, so too the form of Communities embodies this fundamental political and scholarly commitment.”

  • “A smart and timely consideration of the work of Jacques Ranciere in the context of contemporary art.” — Stephen Melville, co-editor of Vision and Textuality

    “The essays collected here are more than timely. They speak to the blurring of aesthetic and political conflict that we are witnessing in the world at large. Both an aesthetic and a political object, Communities of Sense will be a reference work for the new directions in art criticism.” — Tom Conley, author of Cartographic Cinema

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  • Description

    Communities of Sense argues for a new understanding of the relation between politics and aesthetics in today’s globalized and image-saturated world. Established and emerging scholars of art and culture draw on Jacques Rancière’s theorization of democratic politics to suggest that aesthetics, traditionally defined as the “science of the sensible,” is not a depoliticized discourse or theory of art, but instead part of a historically specific organization of social roles and communality. Rather than formulating aesthetics as the Other to politics, the contributors show that aesthetics and politics are mutually implicated in the construction of communities of visibility and sensation through which political orders emerge.

    The first of the collection’s three sections explicitly examines the links between aesthetics and social and political experience. Here a new essay by Rancière posits art as a key site where disagreement can be staged in order to produce new communities of sense. In the second section, contributors investigate how sense was constructed in the past by the European avant-garde and how it is mobilized in today’s global visual and political culture. Exploring the viability of various models of artistic and political critique in the context of globalization, the authors of the essays in the volume’s final section suggest a shift from identity politics and preconstituted collectivities toward processes of identification and disidentification. Topics discussed in the volume vary from digital architecture to a makeshift museum in a Paris suburb, and from romantic art theory in the wake of Hegel to the history of the group-subject in political art and performance since 1968. An interview with Étienne Balibar rounds out the collection.

    Contributors. Emily Apter, Étienne Balibar, Carlos Basualdo, T. J. Demos, Rachel Haidu, Beth Hinderliter, David Joselit, William Kaizen, Ranjanna Khanna, Reinaldo Laddaga, Vered Maimon, Jaleh Mansoor, Reinhold Martin, Seth McCormick, Yates McKee, Alexander Potts, Jacques Rancière, Toni Ross

    About The Author(s)

    Beth Hinderliter is Assistant Professor of Fine Arts at Buffalo State College. William Kaizen is Assistant Professor of Aesthetics and Critical Studies at the University of Masschusetts, Lowell.

    Vered Maimon is a full-time lecturer in the Art and Design Department at Northeastern University. Jaleh Mansoor is Assistant Professor in the School of Art at Ohio University.

    Seth McCormick is a Lewis B. and Dorothy Cullman Postdoctoral Fellow at Yale University.

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