Art's Realism in the Post-Truth Era

Edited by Maryse Ouellet, Amanda Boetzkes

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How does art transform our understanding of realism in the post-truth era?

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Introduction: Mediating Reality: Art’s Riposte to the Post-Truth Era - Maryse Ouellet and Amanda Boetzkes

Part I. Typologies of RealismChapter 1. Novel Realism as Speculative Verisimilitude in Contemporary Post-Apocalyptic Fiction - Monika KaupChapter 2. Cavell’s Realism. Toward a Theory of the Type - Markus KlammerChapter 3. ‘Real Life Was the Better Director’: Arnheim, Chaplin and the Productive Limits of Satire - Ian VerstegenChapter 4. The Real Sound of Music - Jocelyn Benoist

Part II. Realist IntimaciesChapter 5. The Instant of Death, Site of the Real? The Thanatological Realism of Caravaggio - Itay SapirChapter 6. Carried by Currents: Intimate Beings Between First and Second Nature - Jeff DiamantiChapter 7. Sounding the World: Three Perspectives on Sound Art and Realism - Pauline Nadrigny

Part III. Remediations of the RealChapter 8. Reoriginations of Realism in Contemporary Inuit Art - Amanda BoetzkesChapter 9. Pattern Recognition: Art and Forms of Visualisation in Particle Physics - Jens SchröterChapter 10. The Shape of the Blind Spot: Making the Frame of Reality - Dagmara GendaChapter 11. Revealing Through Opacity, or How to Expose Truth in the Post-Truth Era - Maryse Ouellet

Art’s Realism in the Post-Truth Era insists on art’s power to recapture the political and agentic potential of realism.  Rather than promote realism as a mode of representing reality, the authors compellingly position art at the vanguard for realism’s potential to mediate new relationships to what reality conceals.

Jennifer Friedlander, Pomona College, USA
Maryse Ouellet is Research Associate in the Department of Media Studies at the University of Bonn. Her publications include: 'A Realist Aesthetic of the Sublime: Art, Environment and the Cultural Logic of the Anthropocene' in Liquidity, Flows, Circulation: The Cultural Logic of Environmentalization (Diaphanes, 2022); ‘Within Aesthetic Distance: Artistic Critique, From Activism to Eco-Realism’ (Konsthistorisk tidskrift, vol. 89, no.2, 2020); and ‘Par-delà le naturalisme: médiatisation du sublime dans les oeuvres d’Olafur Eliasson et Ryoji Ikeda’ (RACAR, vol. 41, no 2, 2016).

Amanda Boetzkes is Professor of Contemporary Art History and Theory at the University of Guelph. She is the author of Plastic Capitalism: Contemporary Art and the Drive to Waste (MIT Press, 2019), The Ethics of Earth Art (University of Minnesota Press, 2010), as well as coeditor of of Artworks for Jellyfish and Other Others (Noxious Sector Press, 2022) and Heidegger and the Work of Art History (Ashgate, 2014). She has published in the journals Afterimage; South Atlantic Quarterly; Postmodern Culture; Art History; E-flux; Polygraph; and Antennae: The Journal of Nature and Visual Culture among others. Recent book chapters appear in Grey on Grey: Nervous Systems: Art, Systems, and Politics Since the 1960s (Duke University Press, 2021), Climate Realism (Routledge, 2021); Gray on Gray: At the Threshold of Philosophy and Art (Edinburgh University Press, 2023), The Edinburgh Companion for Animal Studies (Edinburgh University Press, 2017); and Art in the Anthropocene: Encounters Among Politics, Aesthetics, Environments and Epistemologies (Open Humanities Press, 2015).

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