| 期刊全稱 | Art after the Hipster | | 期刊簡(jiǎn)稱 | Identity Politics, E | | 影響因子2023 | Wes Hill | | 視頻video | http://file.papertrans.cn/162/161815/161815.mp4 | | 發(fā)行地址 | Examines the hipster in terms of fundamental debates about aesthetics and ethics in contemporary art and visual culture.Investigates the unique paradoxes of the term “hipster”, which is at once an aes | | 圖書封面 |  | | 影響因子 | This book examines the complexities of the hipster through the lens of art history and cultural theory, from Charles Baudelaire’s flaneur to the contemporary “creative” borne from creative industries policies. It claims that the recent ubiquity of hipster culture has led many artists to confront their own significance, responding to the mass artification of contemporary life by de-emphasising the formal and textual deconstructions so central to the legacies of modern and postmodern art. In the era of creative digital technologies, long held characteristics of art such as individual expression, innovation, and alternative lifestyle are now features of a flooded and fast-paced global marketplace. Against the idea that artists, like hipsters, are the “foot soldiers of capitalism”, the institutionalized networks that make up the contemporary art world are working to portray a view of art that is less a discerning exercise in innovative form-making than a social platform—a forum for populist aesthetic pleasures or socio-political causes. It is in this sense that the concept of the hipster is caught up in age-old debates about the relation between ethics and aesthetics, examined here in | | Pindex | Book 2017 |
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