books on art sinopsis

 

Boundaries and overflows of art
By abdel Hernández San juan

Boundaries and overflows of art was my first book of 1992. I structured the book in several parts, the first part was dedicated and devoted to do a full reconstrucción of the several schools, tendencies, methodologies and ideologies in sociology regarding the issue and theme of art autonomy focussing this autonomy in two levels:
1 the  autonomy of the art work, the presupositions of each school, tendency and methodology in sociology about how more or less the work of art must or must be not recognized as autónomous
2-the presupositions of each school and tendency in sociology now not on the work of art authonomy, but on the autonomy of the art field as a whole.
After a very detailed school by school and tendency by tendency análysis on presupositions around this two autonomies, the one of the art work, the author and his work, and the one of the art field as a whole, the first part of the book deliver a main distintion and difference between two general main inclinations of the whole discipline now beyond schools and tendencies, indeterminisms and determinisms.
After this análysis, the first part of the book develop a multiaspectualized perspective on how to do research about art avoiding determinism by discussings it's contradictions on "objectivity" without considering the relation between configurationality, language and subjectivity, as well as develop and discuss the limitations of certain forms of indeterminisms reduced to the old ideologies of the exnihilo creator without examining the internal contradictions evolved in the ideologies of the internal art poles, theorization, intermediatión and creation often inconcients on how art itself must be considered sociologically a configurational world of realization, proposing a new perspective from which indeterminisms might work from the micromethodology level rediscussing how to afford, research and understand art as something constantly be redefined, proposing a philosophical and social sciences transdisciplinary approach to both analyse and discuss the art works and to understand the complexity of the field.
The bourdieu concept of the art field is thus partially asumed under a more general complexity theory which evolves a whole discussion on the reconfigurations of the relations between subjectivity,  axiology, culture and art (the formation of values), examined under a general philosophical discussion on modernity, the relations between being and technology, medias, televisión and reproduction, heiddeger, gadamer, benjamín etc áre thus reconstructed and a deliveration around Thomas mc carthy ideas on agency based in habermas is discussed too.
The secound part of the book start with quoting boudrillard afirmations at transaesthetics about indiferences to art  in current contemporary situations in which everything coexist under a burie and tired circunstances of profusión and simulacras to then develop and discuss a sociological análysis and reconstruction about the issue of art death or the death of art since hegel, like the first part focussed in art autonomy, the secound focuss in art death offering a meticulous, detailed  reconstruction which sistematize and contrast the main reasons to think from a variety of amazing perspectives on art death, from hegel arguments on art irreversible debilitation since romanticism, including heiddeger ideas about that modernity overwell art and become hostile to it, including references to theorist who literary proclamed art death such as Levis strauss famous afirmation about that to him the death of art is not etnologically a surprise but something already happening to formaggio famous 25 thesis in favour of art death to end this part with a sociological análysis on art since earlier xx Century to late xx Century discussed under three periods defined as three diferent forms to negotiate the inminence of art death 1900-1950,1950-1970 and 1970-90s
The last part of the book start proposing and discussing the substitution of art by a practice of philosophy and social science which should be completly new from the moment this new philosophy and this new social science is being conceived under the concience-- and awardness of art death.
The argument at this point of the book derived from a previous discussion when the book demostrated how social science and humanity theories áre ussually narrow related  even unconciently with presupositions explicitly discussed or not about art and literacy autonomy even when it is not about art, and how a philosophy and a social science based in deeperly understanding the death of art must thus be completly new, mainly transdisciplinary to care in the general field of culture, socioculturality and identity the inevitable death of art, the last part of the book focuss then in defining, theorizing and discussing an strong and programatic  scientific deconstruction of Joseph beuys parameter and ideas opposing him and it's similar ecoes in the field.
The book bibliography included boudrillard transaesthetics, vatimo, eco the abcent structure, Mijaíl bajtin dialogic imagination, contemporary sociology theory, a volume edited by Javier muguenza and others published in tecnos, Thomas mc carthy around habermas, Pierre bourdieu the reproduction and the literary field, Peter burger theory of the avanrgard, extensive and detailed bibliography on art autonomy including as focussed structuralism and semiótic theory, and on art death, Levis strauss art and ethnology and it's interview with charbonier, kristeva and Michael Serres meeting with Claude Levis strauss on identity published at petrel, clifford geertz the interpretation of culture, Lyotard, the difference, references on transdisciplinary perspectives and complexity, gregory bateson, lotman, Frederic Jameson, foucault.
This book, it's reading and discussion toguether with my essay the posmodern work strongly influenced and directly inspired as expresed in letters between 1995 and 1996 the seven exhibits of the curatorial practice we both Surpik and i cocurated and copresented at rice university, spring 1997

This book was fully read by Surpik angelini and Gerardo mosquera