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February 11th, 2018
Tain’t So
By (University of Chicago)

To lay out, as clearly and as programmatically as we could, the reasons why despite protestations to the contrary, antiracism, understood as insisting on the symmetry of fighting discrimination and fighting exploitation, suppresses the development of a working class politics rather than offering a road to it. To make this point, the essays printed here, perhaps a little more insistently than our previous responses to critics, attend to the way that antiracism is an expression of the class position of those of us who produce the bulk of the commentary on injustice, and who routinely confront race and gender disparities in our everyday lives.

February 11th, 2018
Black Politics After 2016
By (University of Pennsylvania)

Largely because of the challenge posed by the alternative political vision that Sanders advanced and the subsequent struggle over how to interpret the meanings of Trump’s victory, the 2016 election and its aftermath have thrown into relief the extent to which antiracism, and other formulations of politics based on ascriptive identities, are not simply alternatives to a (working) class politics, as Clinton’s cheesy put-down during the campaign implied. What is typically called identity politics reflects the perspective of a different class, the professional and managerial strata who are relatively insulated from the negative impacts of the four decades long regime of regressive redistribution and better positioned to take advantage of the opportunity structures it opens. That perspective suggests a reason many high-profile antiracists have become so vehement in their opposition to a politics centered on downward economic redistribution.

February 11th, 2018
Amir Zaki, lecture photograph
The Political Economy of Anti-Racism

This is why some of us have been arguing that identity politics is not an alternative to class politics but a form of it: it’s the politics of an upper class that has no problem with seeing people left behind as long as they haven’t been left behind because of their race or sex. And (this is at least one of the things that Marx meant by ideology) it’s promulgated not only by people who understand themselves as advocates of capital but by many who don’t.

February 11th, 2018
The Unity of Individualism and Determinism in the Rehabilitative Ideal
By (University of Pennsylvania)

In recent years, political debates over American crime policy have become centered on whether prisons should aim to rehabilitate rather than punish offenders. While rehabilitative discourse appears to be a progressive alternative to punitive politics, I argue that rehabilitative ideology is built on theoretical premises that justify punitive politics. By conceptualizing criminality within individualistic and deterministic frameworks, the rehabilitative ideal of American criminal justice depicts crime as a function of individual-level faults rather than as symptoms of the deeper social and political inequalities that shape the class profile of the prison population. When criminality is viewed as a function of defects and deficiencies entirely rooted in the person, criminality can only be cured through individual level responses rather than more systematic structural reform.

February 11th, 2018
The Role of Race in Contemporary U. S. Politics:
V.O. Key’s Enduring Insight
By (South Carolina State University) and (University of Pennsylvania)

Today, race performs the function of suppressing working-class politics in the interests of both white and black political elites who are equally committed to capitalist class priorities as defining the boundary of political possibility.

February 11th, 2018
Populism or Capitalist De-modernization at the Semi-periphery:
The Case of Poland
By (Polish Academy of Sciences)

It’s here again, that we encounter the basic flaw of liberal common sense, with its fixation on cultural factors and the importance of ethos. What they neglect is an element that was entirely wiped out of both public and academic discourse in Poland as well as elsewhere, for example, in the US: the issue of class and its indelible materialist component. Populism is a kind of displaced and perverted class revolt. It derives from an oppression of double kind: material for the poor and symbolic for the lower-middle class.

November 6th, 2017
Figure 3
Alone In A World of Objects:
Videogames, Interaction, and Late Capitalist Alienation

Is feeling good an aesthetic? We might say that feeling a kind of subjective pride is a commodified politics—an affiliation of progressive sentiment with market forces that we have seen in such ad campaigns as Oreo’s LGBTQ-positive viral advertising, a way to align politics with preferences. This preferential politics is mobilized, at least in part, by Gone Home as form and content marry to create a limited political efficacy, a reaffirmation of the player’s good politics regarding sexuality (or, conversely, a negative pleasure for the player in experiencing politics that they do not find agreeable). But while preference can produce a politics, it is difficult to imagine that “feeling good” can count as an aesthetic.

November 6th, 2017
Response to Trevor Strunk

Trevor Strunk’s “Alone in a World of Objects” is a welcome and persuasive addition to the sparse literature on the aesthetics of video games. Generally, as Strunk has elsewhere argued, scholarly attempts to legitimize videogames as an object of study have appealed to the medium’s obvious connections to novels, as in the case of Anastasia Salter’s What is Your Quest? (2014), or art history, per Andy Clarke and Grethe Mitchell’s Videogames and Art (2007, 2014). Yet in part because of these texts’ limited artistic horizons, neither offered a clear sense of what a “videogame aesthetic” might be. Strunk’s primary contribution, here, is to lay out the foundations for asking such questions in ways that take seriously the distinctiveness of the medium.

November 1st, 2017
Bladen Sculpture
A Marginal Note on “Art and Objecthood”

“Art and Objecthood” reminds us that the past is a foreign country, as the (now) quite obscure British author L.P. Hartley was the first to say. It belongs to an era in which Artforum was full of writing about art, and where the question of whether what was being discussed was worth considering as—or, as Fried’s essay asks, even was—art, was thought to be important. There could be no hint in the essay, or of any thing or of the artists to which it refers, of the anthropological haze moist with sanctimony that has since descended, obscuring and diluting questions having to do with aesthetic judgment while seeking to wash them away altogether.

November 1st, 2017
Figure 9

Figs. 7-9: Hitchcock famously masked the 11 cuts in Rope (1948), each of which lasts between three and nine minutes, o!en by focusing on a dark object, allowing for a momentary blackout so that the camera could be reloaded or refocused. Here the camera pans toward the back of Brandon’s suit, cuts, and then pans back up over his shoulder.
The Reality Contract
Rope, Birdman, and the Economy of the Single-Shot Film
By (Yale University)

Perhaps not surprisingly, the history of Hollywood production mirrors the history of venture capital in the United States, as each new film presents an idiosyncratic set of risk factors, and each new production or distribution technology distorts return forecasts for a new generation of film speculators.

July 17th, 2017
The Temporal Fried
By (Yeshiva University)

From 1967 to the present, no other writer has so systematically thought through the history and effects of artistic temporality. This accomplishment necessarily binds together his art criticism and his art history, and it allows us to see another layer of significance to the legacy of “Art and Objecthood” fifty years after its publication.

July 17th, 2017
Proven Objectivity
By (The Ohio State University)

Hegel believed that it was incumbent on anything that wanted to be taken seriously to “prove its object,” which is to say, to show itself to be the kind of thing that it in fact is. I am enough of a Hegelian (and a modernist) to feel that art must still “prove its object,” each work somehow making visible a claim for its existence as a work of art rather than some other sort of thing. I take it that what Fried has wanted to show us, not only in his early writings but throughout his art-historical career, is that such “objectivity” is at consequential odds with mere “objecthood,” and that both art and art history need to be clear about those stakes, at least if they hope to be taken seriously.

July 17th, 2017
Blank Unstretched Canvas 25 x 30 cm - 10 x 12 inch
Footnote Number 6: Art and Objectness

In footnote number 6, however, he directly addresses Greenberg’s axiom, and the specific condition of painting. There is a sense in it of an intuitive recognition that for the enterprise of modern painting, Greenberg had the cart before the horse. We know the horse is in front of the cart because the pulling function of the horse is attached to the steering mechanism of the carriage. Greenberg, in this instance, like Joshua Reynolds, seemed more concerned with the status of the carriage, that is, painting as an Art, than with its use-function. What we can glean from Fried is that flatness and the delimitation of flatness is a functional mechanism of the art of painting, and was, at the time, steering the direction that painting was going in.

July 17th, 2017
Michael Fried in the Studio

What am I looking or hoping for from a studio visit? A clear-eyed view of the sculpture that tells me the piece is not working or is working. Then, with luck, an explanation or theory about how it is doing what it is doing. OK, but there are visitors and there are visitors. As is true of any of Michael’s criticism, his understanding of how a work of art gets made comes first.

July 17th, 2017
“Art and Objecthood” Word by Word
By (Ohio State University)

No one likes to be taken seriously when they are speaking lightly. And nobody likes to be told they are not serious when they believe they are. But the encounters staged around the various remarks quoted in “Art and Objecthood” are not exactly either of these: the question of seriousness is not being raised by Fried in the face of what the artists have said but is presented as already there in what they say—and as unheard there by them.

July 17th, 2017
Fig. 3. Le Corbusier, Pessac before and after (in Boudon)
Why Architecture Matters as Art as Never Before:
Le Corbusier, Tony Smith and the Problem of Use
By (Emory University)

The real problem here is not the gap between intent and reaction, but rather with the simple fact that whether or not a building is actually used in the way the architect wishes, it is always made for a user. One could of course build structures exclusively for friends or for oneself but that feels more like an exemplification of the problem than a solution to it. There is no real possibility of fictionally or on any other level of not acknowledging the beholder/user, they are present at the conception and the realization of the work.

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