Panel held on March 31st, 2012 at the Fourth Annual Platypus International Convention, School of the Art Institute of Chicago.
Transcript in Platypus Review #46 (Click below):
Hegel famously remarked that the task of philosophy was to "comprehend its own time in thought." In a sense, we can extend this as the raison d'etre for artistic production, albeit in a modified way: art's task is to "comprehend its own time in form." Yet only with the revolutionary rise of modernity can this dictum make sense. Beginning in the 18th Century, art sought to register and materialize the way in which social consciousness changed along side the developing material conditions of social life. Thus, in times of great social transformation, we also bear witness to major shifts in artistic production: The French Revolution and David, The Revolutions of 1848 and Courbet, and the Russian Revolution and Suprematism and Constructivism are three major examples.
This panel focuses on the relationship between social and aesthetic transformation. How do shifts in formal processes and approaches towards materiality speak to larger changes in the structures of social life? Is the focus on changes within art's form too confining of vision, and must art also concern itself with intervening into the political and social arena? Is art always reacting to, or tailing after social transformations, or can shifts in Culture prefigure such developments? -- In other words, can there be a cultural lag and a cultural leep? The panelists have been asked to address these questions among others in order to flesh out the uneven and at times obscure relationship that art has with a society that is constantly in flux.
Mary Jane Jacob (School of the Art Institute)
Walter Benn Michaels (University of Illinois Chicago)
Robert Pippin (University of Chicago)
Panel held as part of the third annual Platypus International Convention, on Saturday, April 30th, 2011, at the School of the Art Institute of Chicago.
After its apparent exhaustion as a project of social transformation, Marxism seems to remain alive as a cultural and hermeneutic endeavor. Self-avowedly Marxist theorists -- Zizek, Badiou, Ranciere -- exert a heavy, if opaque, influence on the self-understanding and practice of contemporary art and inspire research programs in the humanities. Despite its radical appeal, "Marxist" theory may ultimately flatter the political and aesthetic claims of the present. Could investigation of of the now obscure historical Marxist cultural critique of Leon Trotsky, Theodor Adorno, Walter Benjamin bring to recognition, and therein challenge the inadaquecies of the present? What opaque historical transformations does the difficulty of such work indicate? How might the long-abused concepts of autonomy, medium specificity, kitsch, avant garde -- form part of what Marx called the "ruthless critique of the present." What might the problems of aesthetics and culture have to do with the political project of the self-education of the Left?
Transcript of Bret Schneider's remarks in Platypus Review #37 (Click below):
Panel organized by the Platypus Affiliated Society given at the 2011 annual conference of the Cultural Studies Association in Chicago, IL on Thursday, March 24th, 2011, at Columbia College, Chicago.
Benjamin Shepard - Independent Scholar (Los Angeles), Platypus Affiliated Society
Jacob Cayia - University of Illinois - Chicago
Omair Hussain - School of the Art Institute of Chicago
Lucy Parker - School of the Art Institute of Chicago
Greg Gabrellas (chair) - University of Chicago, Platypus Affiliated Society