May 6, 2007

Repo Pop Cult

Administrator's Note: This week I have decided to re-publish portions of a previous post that I wrote on the "interpellative address" of media as a "metonymic factor in post-conceptualism."

. . . In our reading of Laura Kipnis’s "Repossessing Popular Culture" this week, she paraphrased Peter Burger’s Theory of the Avant-Garde, in which he goes to great pains to split the origins of Modernism into two oppositional components. On one hand were the original aestheticists, who developed an art of “purity,” where form was the “supreme” content, an art that possessed “autonomy from the concerns of everyday life.” Rising up against this were the “original” avant-gardists, with their brilliant use of “shock” and contestatory manifestoes, seeking to return art to an engagement with the people, to “rebel against the enforced social impotence of art determined by institutional status.”

. . . Marcel Duchamp first exhibited his bicycle wheel as a “readymade” in 1913, before the start of World War I. This simple act of “choice,” Duchamp’s answer to the dreaded “retinal” images of aestheticism, would gain strength through the 20th Century with its engagement of the intellectual realms of “context,” commodity and the institutionalization of art. The Dadaists had implored Duchamp to join them (he lived in Munich for awhile) but he steadfastly refused – always the iconoclast – preferring instead to carve his own niche in the tumultuous “history” of “modernist” art.

But it is the “avant garde” dance with “mass culture” that interests me here. By “taking” the imagery of advertisements and posters, to make a “collage” of existing newspaper and magazine texts, the Cubists and Dadaists created an art that “arrested” the attention of both prole and bourgeois. Raoul Vaneigem, who admits his Dada influences, extends Louis Althusser’s idea of interpellation into a condemnation of this “address” of advertisements that provide individuals the “universal images” with which to “recognize themselves,” effectively becoming “actors” in the “spectacle.” It is this “address” that the original avant-gardists had anticipated and manipulated so well, imbuing their art with an absolute immediacy and recognition that did provide a “social” engagement.

I am proposing that it is this idea of an interpellative address that has become the defining metonymic factor in post-conceptualism. If the “part is made to stand for the whole,” then that element, or part, benefits from the “arresting” confrontation of advertisement. To enable “the subjects” to better “recognize themselves,” this appropriation of a commodified image or object allows the artist to engage the “whole” (avant-gardist “social” potency of politicization) with metonymy (Richard Serra’s “Stop Bush” drawing, Carolee Schneemann’s World Trade Center “jumpers.”)

Reading for 9 May: Ch. 32: The Database by Lev Manovich (first section available HERE.

4 comments:

&rew Bain said...

Congratulations on your semi-finalist status for the Sondheim! Good luck!

Liana said...

I find it interesting how despite the avante-garde's difference to public and mainstream/'normal' art, they still must continue a relationship with it.

tiffany said...

with avante-garde art i feel that just like liana said, people have a relationship with it, i feel that with this style of art, the viewers might even have more of a connection with it because its not trendy or mainstream.

Randolph said...

One could not exist without the other correct? For an artwork to be avant-garde there has to be something to compare it to. Therefore it's precedecessors are what qualifies it as new, or rehashed