Aesthetics and the Iconoclasm of Contemporary Art: Pictures Without a World (SpringerBriefs in Philosophy)

Preface
Acknowledgements
Contents
Chapter 1: Introduction
Chapter 2: The World Without a Picture: Avant-Garde and Iconoclasm
	2.1 Introduction
	2.2 Iconoclasm Beyond Religion and Aesthetics
	2.3 The Worldhood of the World
	2.4 The Sublime and the Avant-Garde
	2.5 The Avant-Garde and the “End of Art”
	2.6 Conclusion
	References
Chapter 3: Deconstruction of the Image: From Mimesis and Representation to Communication
	3.1 Introduction: On the Trace of the Picture
		3.1.1 The Iconic Turn
		3.1.2 The Anthropology of Images (Bild-Anthropologie)
		3.1.3 The Image as a Communication Medium
		3.1.4 The World-Picture and the Scene of the Subject: Heidegger’s Trace
	3.2 Conclusion: Video-Centrism Without History?
	References
Chapter 4: The Dark Core of Mimesis: Art, Body and Image in the Thought of Jean-Luc Nancy
	4.1 Introduction
		4.1.1 What Is Art?
		4.1.2 The Disembodiment and the Rising of the Body
		4.1.3 An Image Without Foundation
	4.2 Conclusion
	References
Chapter 5: The Dead-Nature of the Body: Biopolitics and Images of Humans’ End
	5.1 Art, But for What Reason?
	5.2 Metamorphosis of the Body
		5.2.1 Avant-Garde and Neo-Avant-Garde
		5.2.2 The Symbolism of Life and Its Images
		5.2.3 Two Bodies of Performative Art
		5.2.4 Spectacle and Virtual Art
	5.3 Biopolitics Against Life?
		5.3.1 Art Without a Human
		5.3.2 Cyborg—Transgenic Art—The Other World
	5.4 Conclusion
	References
Chapter 6: Event of the Moment: Time in Contemporary Art
	6.1 The Permanent Revolution: Time of the Avant-Garde
	6.2 Flash Moment
	6.3 Clocks and Calendars: Dalí—Darboven
	6.4 Conclusion
	References
Chapter 7: Figures of Resistance: Painting After the End of the Avant-garde
	7.1 The Black Cross of the Retro-Avant-garde
	7.2 How Are Objects Observed?
	7.3 Mediation of the Society of the Spectacle
	7.4 Conclusion: Duchamp’s Last Act
	References
Chapter 8: Conclusion
Index