No CrossRef data available.
Article contents
The Implications of Fun: Art Student as Repeat Viewer
Published online by Cambridge University Press: 02 September 2019
Abstract
This essay argues that the art student who decides not to be an artist exposes the essential lack in many working artists today: this is the lack of fun, which is necessary for successful art and which—ironically—the artist might find once they leave their craft. Responding to Arjun Appadurai’s essay, “The Ready-Made Pleasures of Déjà Vu: Repeat Viewing of Bollywood Films,” I use Appadurai’s “repeat viewer” to focalize the art student as a figure who is both the repeat viewer and the artist who creates the work of art that solicits repeat viewing to begin with. The art student embodies in his or her own self the transition from the artist to the viewer, allowing for a productive reciprocity whereby the artist performs the role of the viewer and vice versa. I close my essay by reflecting on the art student as a possibility for rethinking India’s political dilemma that concludes Appadurai’s essay.
- Type
- Responses to Appadurai Paradigm Piece (Issue 6.1)
- Information
- Cambridge Journal of Postcolonial Literary Inquiry , Volume 6 , Issue 3 , September 2019 , pp. 377 - 383
- Copyright
- © Cambridge University Press, 2019
References
1 Nabokov, Vladimir, “Good Readers and Good Writers,” Lectures on Literature, ed. Bowers, Fredson ( New York: Harcourt Brace, 1980), 3 Google Scholar.
2 Nabokov, “Good Readers and Good Writers,” 3.
3 Appadurai, Arjun, “The Ready-Made Pleasures of Déjà Vu: Repeat Viewing of Bollywood Films,” The Cambridge Journal of Postcolonial Literary Inquiry 6.1 (2019), 140–152 CrossRefGoogle Scholar.
4 Appadurai, “The Ready-Made Pleasures of Déjà Vu,” 142, 146–147.
5 Appadurai, “The Ready-Made Pleasures of Déjà Vu,” 147.
6 Appadurai, “The Ready-Made Pleasures of Déjà Vu.”
7 Nabokov, “Good Readers and Good Writers,” 1.
8 Chan, Paul, “Debts Not Paid,” in Selected writings 2000–2014, eds. Baker, George, Banks, Eric, and Friedli, Isabel ( New York: Badlands, 2014), 52–53 Google Scholar.
9 Chan, “Debts Not Paid,” 52.
10 Chan, “Debts Not Paid,” 53.
11 I’m speaking here of Chan’s second debt and not his first.
12 The Museum of Modern Art, “This Is Isa Genzken,” December 5, 2013. https://www.youtube.com/watch?v=t8nLkge34mE.
13 See Woolf, Virginia, “Why Art Today Follows Politics,” in Selected Essays ( New York: Oxford University Press, 2008), 213–15Google Scholar.
14 Lee, Lisa, ed., “Diedrich Diederichsen in Conversation with Isa Genzken,” October Files: Isa Genzken 17 (Cambridge: MIT Press, 2015), 111 Google Scholar.
15 Lee, Lisa, ed., “A Conversation with Wolfgang Tillmans,” October Files: Isa Genzken 17 (Cambridge: MIT Press, 2015), 104 Google Scholar.
16 Appadurai, “The Ready-Made Pleasures of Déjà Vu,” 147.
17 Appadurai, “The Ready-Made Pleasures of Déjà Vu,” 151.
18 Appadurai, “The Ready-Made Pleasures of Déjà Vu,” 151.
19 Appadurai, “The Ready-Made Pleasures of Déjà Vu.”
20 Appadurai, “The Ready-Made Pleasures of Déjà Vu.”
21 Appadurai, “The Ready-Made Pleasures of Déjà Vu,” 147.
22 Appadurai, “The Ready-Made Pleasures of Déjà Vu,” 152.