Foucault S Philosophy Of Art

Offers the first complete examination of Foucault's reflections on visual art, leading to new readings of his major texts.

Foucault's Philosophy of Art: A Genealogy of Modernity tells the story of how art shed the tasks with which it had traditionally been charged in order to become modern. Joseph J. Tanke offers the first complete examination of Michel Foucault's reflections on visual art, tracing his thought as it engages with the work of visual artists from the seventeenth century to the contemporary period. The book offers a concise and accessible introduction to Foucault's frequently anthologized, but rarely understood, analyses of Diego Velázquez's Las Meninas and René Magritte's Ceci n'est pas une pipe . On.

Michel Foucault had been concerned about painting and the meaning of the image from his earliest publications, yet this aspect of his thought is largely neglected within the disciplines of art history and aesthetic theory. In Foucault on Painting, Catherine M. Soussloff argues that Foucault’s sustained engagement with European art history critically addresses present concerns about the mediated nature of the image in the digital age. Foucault’s writing on painting covers four discrete periods in European art history (seventeenth-century southern Baroque, mid-nineteenth century French painting, Surrealism, and figurative painting in the 1960s and ‘70s) as well as five individual artists: Velázquez, Manet, Magritte, Paul Reyberolle, and Gérard Fromanger. As Soussloff reveals in this book, Foucault followed a French intellectual tradition dating back to the seventeenth century, which understands painting as a separate area of knowledge. Painting, a practice long considered silent in its operations and effects, afforded Foucault an ideal discipline to think about history and philosophy simultaneously. Using a comparative approach grounded in art history and aesthetics, Soussloff explores the meaning of painting for Foucault’s philosophy, and for contemporary art theory, proposing a new relevance for a Foucauldian view of ethics and the pleasures and predicaments of contemporary existence.

Michel Foucault wrote prolifically on many topics including, art, religion, and politics. He also eloquently articulated how power structures are formed and how they also might assist resistance and emancipation. This book uses the hermeneutical lens of Foucault’s writings on art to examine the performative, material, and political aspects of contemporary theology. The borderland between philosophy, theology, and art is explored through Foucault’s analyses of artists such as Diego Velázquez, Édouard Manet, René Magritte, Paul Rebeyrolle, and Gerard Fromanger. Here special focus is placed on performativity and materiality—or what the book terms the mystery of things. At successive junctures, the book discovers a postrepresentational critique of transcendence; an enigmatic material sacramentality; playful theopolitical accounts of the transformative force of stupidity and nonsense; and political imagery in motion enabling theological interpretations of contemporary collectives such as Pussy Riot and the Sisters of Perpetual Indulgence. In conversation with contemporary thinkers including Catherine Keller, Louise-Marie Chauvet, John Caputo, Daniel Barber, Mark C. Taylor, Jeffrey W. Robbins, and Mattias Martinson, the book outlines this source of inspiration for contemporary radical theology. This is a book with a fresh and original take on Foucault, art, and theology. As such, it will have great appeal to scholars and academics in theology, religion and the arts, the philosophy of religion, political philosophy, and aesthetics.

Catherine M. Soussloff argues that Michel Foucault's sustained engagement with European art history critically addresses present concerns about the mediated nature of the image in the digital age. She explores the meaning of painting for Foucault's philosophy, and for contemporary art theory, proposing a new relevance for a Foucauldian view of ethics and the pleasures and predicaments of contemporary existence.

A collection of new essays addressing Foucault’s thought and its impact on thinking about the visual arts, literature and aesthetic discourse in the 21st century.

In this encounter between one of the twentieth century greatest philosophical minds and an artist fundamental to our understanding of the development of modern art, Michel Foucault explores Manet.s importance in the overthrow of traditional values in painting.

When one defines "order" as a sorting of priorities, it becomes beautifully clear as to what Foucault is doing here. With virtuoso showmanship, he weaves an intensely complex history of thought. He dips into literature, art, economics and even biology in The Order of Things, possibly one of the most significant, yet most overlooked, works of the twentieth century. Eclipsed by his later work on power and discourse, nonetheless it was The Order of Things that established Foucault's reputation as an intellectual giant. Pirouetting around the outer edge of language, Foucault unsettles the surface of literary writing. In describing the limitations of our usual taxonomies, he opens the door onto a whole new system of thought, one ripe with what he calls "exotic charm". Intellectual pyrotechnics from the master of critical thinking, this book is crucial reading for those who wish to gain insight into that odd beast called Postmodernism, and a must for any fan of Foucault.