In Beyond the Sovereign Self Grant H. Kester continues the critique of aesthetic autonomy begun in The Sovereign Self, showing how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester shows how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation. Among others, Kester analyzes the work of conceptual artist Adrian Piper, experimental practices associated with the escrache tradition in Argentina, and indigenous Canadian artists such as Nadia Myre and Michèle Taïna Audette, showing how socially engaged art catalyzes forms of resistance that operate beyond the institutional art world. From the Americas and Europe to Iran and South Africa, Kester presents a historical genealogy of recent engaged art practices rooted in a deep history of cultural production, beginning with nineteenth-century political struggles and continuing into contemporary anticolonial resistance and other social movements.
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Beyond the Sovereign Self: Aesthetic Autonomy from the Avant-Garde to Socially Engaged Art
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Beyond the Sovereign Self: Aesthetic Autonomy from the Avant-Garde to Socially Engaged Art
Grant H. Kester is Professor of Art History at the University of California, San Diego, author of The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde and The One and the Many: Contemporary Collaborative Art in a Global Context, and coeditor of Collective Situations: Readings in Contemporary Latin American Art, 1995-2010, all also published by Duke University Press.
"In a superlative demonstration of a hypothesis in action, Grant H. Kester's definitive study Beyond the Sovereign Self effectively melts down, then reimagines our stagnated concepts of aesthetic autonomy and avant-gardism in a dauntless bid to retheorize the increasingly entangled, if not indistinguishable, realms of twenty-first-century social activism and art."?Gregory Sholette, author of, The Art of Activism and the Activism of Art
"With characteristic thoroughness, Grant H. Kester articulates the radical potential in challenging the cherished notion of art's autonomy. Centering dialogic and activist art practices, he insightfully argues that the social labor of cultural resistance necessarily operates in generative forms of collectivity and dissensus."?Jennifer A. González, coeditor of, Chicano and Chicana Art: A Critical Anthology
"Beyond the Sovereign Self serves to clear the space for another kind of art history, one focused on dialogical, not dialectical, approaches. In a world where subaltern subjects are more empowered than ever to speak, he reminds artists and art historians of the need to listen."?John Zarobell, Theory & Event
"[Kester's] passion for this topic and his commitment to research is evident, and this title will serve as a record as we see the world change along with the next generation of artists."?Eboni Jones-Stewart, ARLIS/NA
"Kester's ambition in Beyond the Sovereign Self, and by implication, in the entire two-volume work, is quite extraordinary. . . Kester's ambitious work serves as a timely and substantial appreciation of socially engaged art, bearing witness to an exemplary understanding of its radically democratic essence in all its complexity."?Björn Borsteinsson, Journal of Cultural Management and Policy
"A re-affirmation of the politicised and activist artistic and aesthetic practices that have been at the core of Kester's scholarship to date. . . . an insightful, well-documented and often convincing critique of a certain idea of aesthetic autonomy; Kester's is a 'strong' theory, the strength of which lies in its reading and re-evaluation of key philosophical and art theoretical texts, more so than in the heuristic purchase it demonstrates on artistic-and political-practice, past or present."?Steyn Bergs, Radical Philosophy
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