By Charissa N. Terranova
Within the twenty-first century, we're constantly faced with the existential aspect of technology—the relationships among identification and the mechanizations that experience develop into extensions of the self. concentrating on one in all humanity’s so much ubiquitous machines, car Prosthetic: Technological Mediation and the automobile in Conceptual artwork combines serious conception and new media thought to shape the 1st philosophical research of the automobile inside of works of conceptual paintings. those works are largely outlined to surround a variety of inventive expressions, really in car-based conceptual paintings by way of either older, confirmed artists and more youthful, rising artists, together with Ed Ruscha, Martha Rosler, Richard Prince, Sylvie Fleury, Yael Bartana, Jeremy Deller, and Jonathan Schipper.
At its center, the publication bargains another formation of conceptual paintings understood in response to expertise, the physique relocating via house, and what artwork historian, curator, and artist Jack Burnham calls “relations.” This thought-provoking research illuminates the ways that the car turns into a naturalized extension of the human physique, incarnating new varieties of “car art” and spurring a technological reframing of conceptual artwork. Steeped in a worldly tackle the picture and semiotics of the auto, the chapters probe the politics of materialism in addition to high/low debates approximately style, tradition, and artwork. the result's a hugely cutting edge method of modern intersections of artwork and know-how.
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Additional resources for Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art
It is the car, the technological tool of mediation by which Smith came to an epiphanic understanding of the Zen-like repetitive logic of minimalist sculpture. Though a half of a century separates the words of artists Smith and Opie, their descriptions of the experience of the car and the road are testament to the importance of the automobile as a perceptual device mediating the human and world, artist and the articulation of form. In placing them side by side, I intend not so much to show plus ça change, plus c’est la même chose, but to bring home the centrality of technological mediation in the art of the post-WWII era.
In connecting Smith’s account of driving along the unfinished freeway to Opie’s work and writing on the car, I home in on the car’s importance, bringing together two artists, one of the past, the other of the present, and their discussions of the technologized perception of the automotive experience. In resituating Smith’s quote, I am able to posit a new framing of conceptualism that, though overlooked, was always already extant. Before I get to the meat of the matter of conceptual car art, a brief excursus on terminology is in order.
18 As a pop phenomenologist, O’Doherty is neither condescending nor moralizing about the automotive landscape. ”20 Writing about the experience of an absurdist world mediated by the car, O’Doherty gives form in poetry and prose to a pop phenomenology and thus also to the critical-minded populism of conceptual car art. From Medium to Mediation: Perceiving through the Car The road and much of the landscape was artificial, and yet it couldn’t be called a work of art. On the other hand, it did something for me that art had never done.