You just need to Login or Register to make a class proposal. (Sorry about that, but it cuts down on spam and also helps with organizing)

Contemporary Art Practices and the Politics of Aesthetics

+ Attending


Tuesday, October 22, 2013 - 19:00
BAY AREA PUBLIC SCHOOL -- 2141 Broadway, Oakland more
Attending (2)
+ Add me
+ Add me!


Hi all,

Looking ahead, here's an offering of possible texts for consideration. I'm not sure how much ground was covered in Bishop's book w/r/t Nancy or Mouffe on community and the public sphere. Also, having missed out on the Ranciere binge I don't know how to gauge people's enthusiasm about that... Everything should be available for download from e-flux or

If others have contributions let's use the next class to tease out the direction we want to go in. If people are amenable I'd say we meet on our regularly scheduled Tuesday Nov 19th at CCA's SF Campus for the Hito Steyerl lecture (details below). We could look at selections from her E-flux reader the meeting before or after.


Warm regards,




Politics of Aesthetics: Reading Suggestions


More Agamben?, selections from Stanzas, Infancy..., Potentialities


Louis Althusser, Letter on Art, Cremonini: Painter of the Abstract


Jean-Francois Lyotard, Lessons on the Analytic of the Sublime


Chantal Mouffe, Art and Democracy: Art as an Agonistic Intervention in Public Space, Strategies of Radical Politics and Aesthetic Resistance


Jean-Luc Nancy, The Inoperative Community, The Muses


Antonio Negri, Art and Multitude


Peter Osborne, Anywhere or Not at All (The Fiction of the Contemporary, Art Beyond Aesthetics, Art Space)


Jacques Ranciere, Aisthesis


Martha Rosler, Culture Class


Hito Steyerl, The Wretched of the Screen (selections: Is a Museum a Factory, In Defense of the Poor Image, etc.)


Tuesday, November 19, 7:00 pm

Timken Lecture Hall, CCA


Building disruptive analogies between art and politics, the filmmaker and writer Hito Steyerl examines the history of the museum as a literal site of battle, focusing in particular on the ongoing rebellions in Paris in the 19th century, which made the halls of the Louvre (established as the first truly public museum in the wake of the French Revolution) a primary site of conflict. If the contemporary museum is frequently cast as a sanitary and elitist enclave, Steyerl demonstrates that at certain junctures it has been instead a territory of fierce armed struggle, with the right to public space and the public ownership of art as the desperate stakes.


Close this window