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-- home past issues current issue future issues editorials the tank poetry about for authors events the board -- search -- -- -- a great artist can make art by simply casting a glance. –smithson home past issues current issue future issues editorials the tank poetry about for authors events the board nonsite features article , issue #24 theaster gates’ social formations by adrian anagnost (tulane university) as artist and urbanist, theaster gates is his own patron, his own institution, his own llc. he is start-up and content creator combined. though artists have long engaged in corporate parodies, gates goes beyond the twee anarcho-entrepreneurship of the bernadette corporation or the politicized media takeovers of the yes men. he creates new art spaces as anchor institutions in blighted blocks. his works propel white creative types to penetrate black areas of the city formerly unknown to them. his renown encourages art tourists to travel beyond the usual downtown museum circuit. but gates does not draw attention with mural paintings or large public sculptures. gates’ artwork is, simply, real estate. and there is real money at stake. article , issue #24 defamiliarization and the unprompted (not innocent) eye by bence nanay (university of antwerp) the aim is to revive the concept of defamiliarization by showing that it has nothing to do with the innocent eye and to propose a new interpretation of it in terms of distributed attention. this reinterpreted concept of defamiliarization can be useful for contemporary post-formalist accounts of the history of vision, imagination, and visual attention. article , issue #23 tain’t so by kenneth warren (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. article , issue #23 black politics after 2016 by adolph reed, jr. (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. article , issue #23 the political economy of anti-racism by walter benn michaels (uic) 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. editorial , issue #23 more neoliberal art history by todd cronan (emory university) and charles palermo (college of william & mary) that individual experience is what is at stake in an analysis like lee’s and in projects like the multinode metagame and the opsroom installation means that they are always different, always changing, always occasioning new “meanings.” this is the polysemic, and the polysemic is not the opposition, but the alibi of neoliberalism. it provides cover for exploitation, the glitter of a thousand stars to transfix the thousands of victims while their pockets are being picked. editorial , issue #22 grimstad on experience, flatley on affect: a response by walter benn michaels (uic) which suggests not only that it would be puzzling for a critical practice to declare itself against affect but that it’s equally puzzling to think of any critical practice as being for affect—to think, for example, of “reading for mood” as “a mode of reading.” there are no such things as modes of reading—there’s only trying to understand what a text is doing. issue #22 , the tank experience and experimental writing: literary pragmatism from emerson to the jameses by paul grimstad , michael schreyach (trinity university) , colin koopman , r.m. berry and yi-ping ong (johns hopkins university) consider looking at that cursive “c” through a microscope, the edges of the dried ink branching out in irregular furrows into the fabric of the paper. could dickinson mean that? could any human mean that? would ever more powerful microscopes uncover more and more layers of meaning? it made sense to me to think the answers here should be “no.” feature , issue #22 modernism, theatricality, and objecthood by richard moran the imperative to establish an artistic medium means that the artist herself must somehow assume the authority to determine and declare how her work is to count for us, determine as just what medium of art it is to confront its specific possibilities of success and failure. in art, as well as in ordinary speech and gesture, possibilities of meaning and expression exist only insofar as there are answers to the criterial questions of what sort of thing is the subject of expression here, what speech, what action, what medium of expression. feature , issue #22 authors and authority on art, objects, and presence by tracy strong how do we know what counts as true to art, of “art as such”? take a parallel case: in the sixteenth century, arguments over what counts as scripture raised the question of precisely what makes something scripture. what can count as proof—for one cannot ask the author, and certainly not the author? the key here is the experience of finding oneself in (absorbed by) what has a claim to be art—or in this case in what claims to be scripture. “art as such” gives this: art is thus never primarily representation. feature , issue #22 missed connections by daniel morgan thinking in this way, we might recast fried’s wonder about why modernist artists went to the cinema. perhaps they were not (just) seeking refuge from the burdens of the seriousness of their work; perhaps they saw in the cinema a range of different ways of negotiating the same questions about the relation of artwork to beholder that they were themselves preoccupied with. on this view, cinema does not stand apart from fried’s modernist history; it continues that history by other means. feature , issue #22 the stakes of modernist acknowledgment by danielle follett (université sorbonne nouvelle) it is important to recognize, when reading his critique of literalist sensibility in “art and objecthood,” that his view of literalness and contingency is not that these should be abolished from artworks (as though that could ever be possible! mallarmé reminds us that it’s not), but that the literal and contingent properties of a work should be acknowledged and incorporated into it, creating an intimate and non-arbitrary relation between a work’s literal conditions and its configuration, between its situation and its syntax. th

URL analysis for nonsite.org

https://nonsite.org/article/the-unity-of-individualism-and-determinism-in-the-rehabilitative-ideal
https://nonsite.org/issues/issue-4-no-quarrel-part-2
https://nonsite.org/past-issues-2
https://nonsite.org/author/rmoran
https://nonsite.org/poetry/eclogue-iii-catching-the-ball-makes-the-catcher-feel-good
https://nonsite.org/author/rmberry
https://nonsite.org/feature/modernism-theatricality-and-objecthood
https://nonsite.org/category/poetry
https://nonsite.org/article/the-role-of-race-in-contemporary-u-s-politics
https://nonsite.org/poetry/two-poems
https://nonsite.org/author/tstrunk
https://nonsite.org:443/feed
https://nonsite.org/category/article
https://nonsite.org/feed/atom
https://nonsite.org/issues/issue-1-author-artist-audience

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Domain Name: NONSITE.ORG
Registry Domain ID: D159599657-LROR
Registrar WHOIS Server: whois.enom.com
Registrar URL: http://www.enom.com
Updated Date: 2018-05-24T16:40:43Z
Creation Date: 2010-07-07T20:54:49Z
Registry Expiry Date: 2019-07-07T20:54:49Z
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Registrar IANA ID: 48
Registrar Abuse Contact Email: [email protected]
Registrar Abuse Contact Phone: +1.4252982646
Reseller:
Domain Status: ok https://icann.org/epp#ok
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Registrant Country: US
Name Server: NS1.DREAMHOST.COM
Name Server: NS2.DREAMHOST.COM
Name Server: NS3.DREAMHOST.COM
DNSSEC: unsigned
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  REFERRER http://www.pir.org/

  REGISTRAR Public Interest Registry

SERVERS

  SERVER org.whois-servers.net

  ARGS nonsite.org

  PORT 43

  TYPE domain

DOMAIN

  NAME nonsite.org

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  CREATED 2010-07-07

STATUS
ok https://icann.org/epp#ok

NSERVER

  NS1.DREAMHOST.COM 64.90.62.230

  NS2.DREAMHOST.COM 208.97.182.10

  NS3.DREAMHOST.COM 66.33.205.230

OWNER

ADDRESS

  COUNTRY US

  REGISTERED yes

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