000			02919cam a2200361 i 4500
001			19215876
003			IVS
005			20250721160649.0
008			160805s2017 mau b 001 0 eng
010			_a 2016036120
020			_a9780262533447 (pbk. : alk. paper)
040			_aDLC _beng _cDLC _erda _dDLC
042			_apcc
050	0	0	_aNX650.E46 _bB67 2017
082	0	0	_a700.453 /MCD _223 _b20787
100			_aMcDonough, Tom
245	0	0	_aBoredom : Documents of Contemporary Art
264		1	_aCambridge, Massachusetts : _bThe MIT Press, _c2017.
300			_a236 pages ; _c21 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
490	0		_aWhitechapel: documents of contemporary art
504			_aIncludes bibliographical references (pages 228-231) and index.
520			_a"Without boredom, arguably there is no modernity. The current sense of the word emerged simultaneously with industrialization, mass politics, and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And starting with modernism's retreat into abstraction through subsequent demands placed on audiences, from the late 1960s to the present, the viewer's endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going. In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and exists along a spectrum stretching from a malign condition to be struggled against to an something to be embraced or explored as a site of resistance. This anthology contextualizes the range of boredoms associated with our neoliberal moment, taking a long view that encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the United States of silence, repetition, or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance, and film; punk's social critique and its influence on theories of the postmodern; and the recognition, beginning at the end of the 1980s, of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labor alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous" -- From the publisher.
650		0	_aEmotions in art.
650		0	_aBoredom.
650		0	_aDisengage _vSilence
700	1		_aMcDonough, Tom, _d1969- _eeditor.
906			_a7 _bcbc _corignew _d1 _eecip _f20 _gy-gencatlg
942			_2ddc _cREF _n0
999			_c14466 _d14466