The theorists of paintings and picture quite often depict the fashionable viewers as aesthetically and politically passive. In reaction, either artists and thinkers have sought to remodel the spectator into an energetic agent and the spectacle right into a communal performance.
In this follow-up to the acclaimed The way forward for the Image, Rancière takes a substantially diverse method of this tried emancipation. First asking precisely what we suggest via political artwork or the politics of paintings, he is going directly to examine what the culture of serious artwork, and the need to insert paintings into existence, has completed. Has the militant critique of the intake of pictures and commodities develop into, sarcastically, a tragic confirmation of its omnipotence?