Money on the Left is joined by Grant Kester, professor of Art History at University of California, San Diego. We speak with Kester about his multi-decade career, researching and teaching the history of socially engaged art.
Kester’s scholarship underscores the limits and contradictions of the dominant modern Western tradition of aesthetics. Such aesthetics value “autonomy,” insisting that the artist, the artistic medium, or art as an institution ought to stand alone and outside of society and its corrupting influences. Paradoxically, autonomy in this tradition is supposed to secure art’s political dimension by blunting and often deferring any claims to immediate social efficacy. Kester, by contrast, affirms what is variously called dialogical aesthetics or socially engaged art, a collaborative sensuous practice in public space, which aims to transform thought and action by forging complex relationships among artists and publics.
Here, we focus on Kester’s two recent books published by Duke University Press. In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (August 2023), Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. In Beyond the Sovereign Self Aesthetic Autonomy from the Avant-Garde to Socially Engaged Art (December 2023), Kester then shows how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester demonstrates how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation.
Throughout our conversation, we tease out affinities between Kester’s scholarship and heterodox theories of public money and provisioning. Problematizing unquestioned desires to cordon off aesthetics from political economy, we call on artists and activists to contest, reconstruct, and build anew the forms of mediation that heterogeneously shape a shared sensuous life.
Visit our Patreon page here: https://www.patreon.com/MoLsuperstructure
Music by Nahneen Kula: www.nahneenkula.com
Money on the Left is joined by Grant Kester, professor of Art History at University of California, San Diego. We speak with Kester about his multi-decade career, researching and teaching the history of socially engaged art.
Kester’s scholarship underscores the limits and contradictions of the dominant modern Western tradition of aesthetics. Such aesthetics value “autonomy,” insisting that the artist, the artistic medium, or art as an institution ought to stand alone and outside of society and its corrupting influences. Paradoxically, autonomy in this tradition is supposed to secure art’s political dimension by blunting and often deferring any claims to immediate social efficacy. Kester, by contrast, affirms what is variously called dialogical aesthetics or socially engaged art, a collaborative sensuous practice in public space, which aims to transform thought and action by forging complex relationships among artists and publics.
Here, we focus on Kester’s two recent books published by Duke University Press. In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (August 2023), Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. In Beyond the Sovereign Self Aesthetic Autonomy from the Avant-Garde to Socially Engaged Art (December 2023), Kester then shows how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester demonstrates how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation.
Throughout our conversation, we tease out affinities between Kester’s scholarship and heterodox theories of public money and provisioning. Problematizing unquestioned desires to cordon off aesthetics from political economy, we call on artists and activists to contest, reconstruct, and build anew the forms of mediation that heterogeneously shape a shared sensuous life.
Visit our Patreon page here: https://www.patreon.com/MoLsuperstructure
Music by Nahneen Kula: www.nahneenkula.com