Art after the Hipster

Identity Politics, Ethics and Aesthetics
 
 
Palgrave Macmillan (Verlag)
  • erschienen am 25. August 2018
 
  • Buch
  • |
  • Softcover
  • |
  • 160 Seiten
978-3-319-88623-7 (ISBN)
 
This book examines the complexities of the hipster through the lens of art history and cultural theory, from Charles Baudelaire's flâneur to the contemporary "creative" borne from creative industries policies. It claims that the recent ubiquity of hipster culture has led many artists to confront their own significance, responding to the mass artification of contemporary life by de-emphasising the formal and textual deconstructions so central to the legacies of modern and postmodern art. In the era of creative digital technologies, long held characteristics of art such as individual expression, innovation, and alternative lifestyle are now features of a flooded and fast-paced global marketplace. Against the idea that artists, like hipsters, are the "foot soldiers of capitalism", the institutionalized networks that make up the contemporary art world are working to portray a view of art that is less a discerning exercise in innovative form-making than a social platform-a forum for populist aesthetic pleasures or socio-political causes. It is in this sense that the concept of the hipster is caught up in age-old debates about the relation between ethics and aesthetics, examined here in terms of the dynamics of global contemporary art.
Softcover reprint of the original 1st ed. 2017
  • Englisch
  • Cham
  • |
  • Schweiz
Springer International Publishing
  • Für Beruf und Forschung
  • 1 farbige Tabelle, 1 farbige Abbildung
  • |
  • 1 Tables, color; 1 Illustrations, color; VIII, 150 p. 1 illus. in color.
  • Höhe: 210 mm
  • |
  • Breite: 148 mm
  • |
  • Dicke: 8 mm
  • 216 gr
978-3-319-88623-7 (9783319886237)
10.1007/978-3-319-68578-6
weitere Ausgaben werden ermittelt

Wes Hill lectures in Art History and Visual Culture at Southern Cross University, Australia. Previous publications include Emily Floyd: The Dawn (2014) and How Folklore Shaped Modern Art (2016).

1. Introduction: Caring Too Much and Not Enough2. The Twenty-First-Century Hipster 3. The Postmodern Hipster4. The Hipster as an Entrepreneur of the Self5. Conclusion
"The hipster has become a crucial theoretical figure in the early 21st century. Wes Hill shows us why and points to the long genealogy behind the concept. The philosophical origins of the hipster might even go back to that most unhip philosopher, Immanuel Kant. One of the questions Hill leaves us with is whether the hipster's days are numbered, whether when we're all hip anybody is."

-Rex Butler, Professor of Art History, Monash University


Evoking a level of animosity from a bygone cultural moment, the hipster belongs to a time when the economic advantages of cultural innovation in the arts were seriously believed. What that time was, and where we are now, is this book's subject, examined through the lens of art history and the creativity hype of neoliberalism. Marking a transition from a period in Western art when irony and high-minded nonchalance reigned, the hipster appears in the context of contemporary art not as a critical standpoint in itself but as the continually deferred subject position of creative practice. Today, given the increasing impotence of the term "hipster," proclamations of cultural discernment are overshadowed by ethical considerations of identity, making palpable an uncertainty about our capacity to untangle capitalism's thirst for reinvention from the artist's thirst for subverting norms.


Wes Hill lectures in Art History and Visual Culture at Southern Cross University, Australia. Previous publications include Emily Floyd: The Dawn (2014) and How Folklore Shaped Modern Art (2016).

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