Inspired in part by the work of contemporary artists like Panos & Kirchner, Ed Atkins and Elad Lassry, this conference brings together art history, theory and practice to address a number of questions concerning the significance of production values in contemporary cultural production. How might highly-polished modes of production be used to actively produce critical effects and affects? Can artistic approximations of high-spec commercial image production technologies produce a disjunctive or defamiliarising effect in relation to those very technologies? Or do such practices simply constitute a form of empty posturing that commodifies political dissent and places it in the service of the market?
We invite papers which address contemporary artistic interest in high-specification visual production and the cultural politics of production values more broadly. Approaches may include:
* Papers which write with and from the position of the art object, including papers influenced by the new Object Oriented Ontologies.
* Queer and feminist considerations of the sexualisation and gendering of superficiality.
* Discussions of the relationship between corporeal messiness and its mediation by the clean and smooth digital image.
* Considerations of the tacit dissemination of taste and value judgements in art criticism.
* Papers which track the historical development of Marxist and post-Marxist criticism's relationship with the 'seductive image'.
* Papers which work through the affective complexities of resolution and gloss in the production and reading of images.
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