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(De)terminating the political enfram...

Graziani, Ronald Sisto.

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(De)terminating the political enframement in the art by Robert Smithson.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	(De)terminating the political enframement in the art by Robert Smithson./
作者:	Graziani, Ronald Sisto.
面頁冊數:	305 p.
附註:	Chair: Albert Boime.
Contained By:	Dissertation Abstracts International53-09A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9303488

(De)terminating the political enframement in the art by Robert Smithson.
Graziani, Ronald Sisto.

(De)terminating the political enframement in the art by Robert Smithson. - 305 p.

Chair: Albert Boime.

Thesis (Ph.D.)--University of California, Los Angeles, 1992.

This dissertation pursues the assumption that the success of Robert Smithson's esthetic innovations necessarily derives from the desires of those who determine the economic and political way of life that our culture industry promotes.Subjects--Topical Terms:

635474
Art History.

(De)terminating the political enframement in the art by Robert Smithson.
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245 1 0 $a (De)terminating the political enframement in the art by Robert Smithson.
300 $a 305 p.
500 $a Chair: Albert Boime.
500 $a Source: Dissertation Abstracts International, Volume: 53-09, Section: A, page: 3020.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 1992.
520 $a This dissertation pursues the assumption that the success of Robert Smithson's esthetic innovations necessarily derives from the desires of those who determine the economic and political way of life that our culture industry promotes.
520 $a Chapter One of this work examines how the art by Smithson has been given a dominant role in the esthetics of postmodernism since his death in 1973, and how two competing camps in our industry have used the esthetic category of the picturesque versus the anti-esthetic category of the postmodern allegorical impluse to argue their respective cases.
520 $a Chapter Two reinscribes this esthetic discourse in the 1960s, using a 1967 article by critic Michael Fried titled "Art and Objecthood" and Smithson's published response to it. The intent is two-fold: to relocate the current debate in the esthetic language of the 1960s, and to show how, despite the incompatibility currently being staged between the categories of the postmodern allegorical impulse and the modernist tradition of the picturesque-sublime, the two are intimately involved in a marriage by necessity.
520 $a The concluding chapter pursues a track that is not part of the industry's discourse on Smithson's art: how, from the mid 1960s on, Smithson's esthetics participated in the economics and politics of those mining the earth for mineral resources. The paper images Smithson's activity as that of a middleman, a spokesperson for both what has continued into the 1980s under the rubric of deconstruction, but also an activity intentionally translated through the esthetic conventions of the picturesque-sublime. My reading of this relationship, however, depends less upon the anti-esthetics of resistance and more on an esthetics of participation, albeit one based on the integration of difference. Enframed as such, the critical theory used to substantiate the significance of Smithson's anti-esthetic radicalness is shown to necessarily carry within it the modernist structure of the picturesque-sublime and the needs of the mining industry that has helped to shape the course of that esthetic convention.
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