LEADER 03479nam 22006495 450 001 9910255076603321 005 20230810192652.0 010 $a9783319685786 010 $a3319685783 024 7 $a10.1007/978-3-319-68578-6 035 $a(CKB)4100000000882676 035 $a(DE-He213)978-3-319-68578-6 035 $a(MiAaPQ)EBC5110781 035 $a(Perlego)3496290 035 $a(EXLCZ)994100000000882676 100 $a20171020d2017 u| 0 101 0 $aeng 135 $aurnn#008mamaa 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aArt after the Hipster $eIdentity Politics, Ethics and Aesthetics /$fby Wes Hill 205 $a1st ed. 2017. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2017. 215 $a1 online resource (VIII, 150 p. 1 illus. in color.) 225 1 $aPalgrave Pivot 311 08$a9783319685779 311 08$a3319685775 320 $aIncludes bibliographical references and index. 330 $a"The hipster has become a crucial theoretical figure in the early 21st century. Wes Hill shows us why and points to the long genealogy behind the concept. The philosophical origins of the hipster might even go back to that most unhip philosopher, Immanuel Kant. One of the questions Hill leaves us with is whether the hipster's days are numbered, whether when we're all hip anybody is." -Rex Butler, Professor of Art History, Monash University Evoking a level of animosity from a bygone cultural moment, the hipster belongs to a time when the economic advantages of cultural innovation in the arts were seriously believed. What that time was, and where we are now, is this book's subject, examined through the lens of art history and the creativity hype of neoliberalism. Marking a transition from a period in Western art when irony and high-minded nonchalance reigned, the hipster appears in the context of contemporary art not as a critical standpoint in itself but as the continually deferred subject position of creative practice. Today, given the increasing impotence of the term "hipster," proclamations of cultural discernment are overshadowed by ethical considerations of identity, making palpable an uncertainty about our capacity to untangle capitalism's thirst for reinvention from the artist's thirst for subverting norms. Wes Hill lectures in Art History and Visual Culture at Southern Cross University, Australia. Previous publications include Emily Floyd: The Dawn (2014) and How Folklore Shaped Modern Art (2016). 410 0$aPalgrave pivot. 606 $aCulture$xStudy and teaching 606 $aArts 606 $aCulture 606 $aPopular culture 606 $aDigital media 606 $aCultural Theory 606 $aFine Art 606 $aGlobal and International Culture 606 $aPopular Culture 606 $aDigital and New Media 615 0$aCulture$xStudy and teaching. 615 0$aArts. 615 0$aCulture. 615 0$aPopular culture. 615 0$aDigital media. 615 14$aCultural Theory. 615 24$aFine Art. 615 24$aGlobal and International Culture. 615 24$aPopular Culture. 615 24$aDigital and New Media. 676 $a306.01 700 $aHill$b Wes$4aut$4http://id.loc.gov/vocabulary/relators/aut$0887210 906 $aBOOK 912 $a9910255076603321 996 $aArt after the Hipster$91982014 997 $aUNINA