By Charissa N. Terranova
Within the twenty-first century, we're consistently faced with the existential aspect of technology—the relationships among identification and the mechanizations that experience turn into extensions of the self. concentrating on considered one of humanity’s so much ubiquitous machines, automobile Prosthetic: Technological Mediation and the auto in Conceptual artwork combines serious concept and new media concept to shape the 1st philosophical research of the auto inside works of conceptual paintings. those works are largely outlined to surround a variety of artistic expressions, really in car-based conceptual artwork by means of either older, tested artists and more youthful, rising artists, together with Ed Ruscha, Martha Rosler, Richard Prince, Sylvie Fleury, Yael Bartana, Jeremy Deller, and Jonathan Schipper.
At its middle, the publication bargains another formation of conceptual artwork understood based on know-how, the physique relocating via area, and what paintings historian, curator, and artist Jack Burnham calls “relations.” This thought-provoking research illuminates the ways that the car turns into a naturalized extension of the human physique, incarnating new kinds of “car art” and spurring a technological reframing of conceptual paintings. Steeped in a cosmopolitan tackle the picture and semiotics of the auto, the chapters probe the politics of materialism in addition to high/low debates approximately style, tradition, and paintings. the result's a hugely cutting edge method of modern intersections of paintings and know-how.
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Extra info for Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art
The automotive prosthetic is both a position and a theory that, admittedly, bears only a minimal relationship to these two popular versions of the prosthetic, indeed because the car operates as a literal, but non-miraculous, attachment to the human body. In the study that follows, the prosthetic is at once literal and figurative, a reference to the automobile machinery about which we wrap ourselves when we set out to drive as well as to a philosophical position. As Donna Haraway put it, “Prosthesis becomes a fundamental category for understanding our most intimate selves.
Foucault first articulated the biopolitical in a series of lectures at the Collège de France in Paris in 1979. 39 Today this arrangement exists like an invisible network of virtual incarceration, what Foucault elsewhere calls the “carceral,” in which the designation of freedom is also a form of identification and limitation. In Introduction \\ 15 being “free” one becomes a citizen and part of the collective of democracy, an enumerated participant in all of its accouterments of identifying, from voting, debt, home ownership, and Social Security to local and federal laws, the jurisprudence system, and penalization.
I connect Smith to Opie by way of the question of technological mediation, experiencing the world through the car, in order to direct our attention to something profound—namely, a discussion of the temporal elasticity, breadth, and characteristic of conceptualism. ”24 The idea and temporal framing are now canonical. In viewing conceptualism as a finite movement within art, these histories, though seminal and extremely useful, bear a logic generated by “styles”—the writing and teaching of art history as a linear trajectory of one style subsuming and overcoming another in sequential fashion.
Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art by Charissa N. Terranova