Download Automotive Prosthetic: Technological Mediation and the Car by Charissa N. Terranova PDF

By Charissa N. Terranova

Within the twenty-first century, we're consistently faced with the existential aspect of technology—the relationships among id and the mechanizations that experience turn into extensions of the self. concentrating on considered one of humanity’s such a lot ubiquitous machines, car Prosthetic: Technological Mediation and the auto in Conceptual artwork combines serious conception and new media thought to shape the 1st philosophical research of the automobile inside works of conceptual paintings. those works are widely outlined to surround a variety of inventive expressions, really in car-based conceptual artwork by means of either older, proven artists and more youthful, rising artists, together with Ed Ruscha, Martha Rosler, Richard Prince, Sylvie Fleury, Yael Bartana, Jeremy Deller, and Jonathan Schipper.

At its center, the publication deals an alternate formation of conceptual artwork understood based on expertise, the physique relocating via house, and what artwork historian, curator, and artist Jack Burnham calls “relations.” This thought-provoking learn illuminates the ways that the car turns into a naturalized extension of the human physique, incarnating new sorts of “car art” and spurring a technological reframing of conceptual artwork. Steeped in a worldly tackle the picture and semiotics of the automobile, the chapters probe the politics of materialism in addition to high/low debates approximately flavor, tradition, and paintings. the result's a hugely cutting edge method of modern intersections of paintings and expertise.

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Additional info for Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art

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Looking ahead to the late twentieth century, Opie describes the car-­based project Imagine You Are Driving (1993) to Tate curator Mary Horlock according to a similar set of variables. Opie discusses the process of mediation in his experience of the car and, by connection, the combined exhilaration and nihilism of speeding along the highway. Opie’s account of the road lays bare the role technology plays in creating an escapist experience: “You only experience a motorway by driving on it, and the experience is kind of numbing—you leave reality, the state of speed being the negation of reality.

Their commonality thus coalesces in a particular kind of nesting, with one inside of the other, the view to the road as the mechanical unconscious of the conceptualist interrogation of the white cube. It is a bit of kitsch embedded in the avant-­garde. There inside the deep mind that plays on the surface we locate an outsider’s approach to writing about art characterized by the pushing of boundaries in order to open up new territories of thinking. We can link O’Doherty’s phenomenology of driving and the kitschy landscape to the lofty enterprise of criticizing the white walls of the gallery cube, finding technology at the base, here the automobile, of such a bridge.

It mediated reality while also functioning as a recognizable form of signage within art. As with the documentary photograph, the automobile functioned as a trope signaling amateurism and everyday commonality, which in turn helped to destroy the old high-­art system of medium-­specificity—painting as separate from sculpture as separate from architecture—which had been in place if not immemorially then since early modernity. In a careful reading of the same quote from Smith, the art historian Pamela M.

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