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Dan Fox - Pretentiousness: Why It Matters

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Dan Fox Pretentiousness: Why It Matters
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Pretentiousness: Why It Matters: summary, description and annotation

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Pretentiousness is for anyone who has braved being different, whether thats making a stand against artistic consensus or running the gauntlet of the last bus home dressed differently from everyone else. Its an essential ingredient in pop music and high art. Why do we choose accusations of elitism over open-mindedness? What do our anxieties about pretending say about us?

Co-editor of frieze, Europes foremost magazine of contemporary art and culture, Dan Fox has authored over two hundred essays, interviews, and reviews and contributed to numerous catalogues and publications produced by major international art galleries and institutions.

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A million thanks to Caroline Casey, Chris Fischbach, Amelia Foster, and Carla Valadez at Coffee House Press for publishing this book in the US and for their advice, enthusiasm, and patience. This book would not be the same without the generosity of the artists who kindly gave permission to reproduce their work: Glen Baxter, Pablo Bronstein, Marc Camille Chaimowicz, Steven Claydon, Mark Leckey, Tala Madani, David Noonan, and Frances Stark.

Pretentiousness: Why It Matters had its genesis in two essays and one talk: Class Act, published in frieze magazine in 2009; Train, Heave on to Euston! which appeared in Nothings Too Good for the Common People: The Films of Paul Kelly, edited by Sukhdev Sandhu and published by Texte und Tne in 2013 (greatly expanded here as the postscript); and What Is Pretentiousness and Does It Make Me Look Good? given in 2013 at the Moonlighter Presents... lecture series in New York City, organized by Stephanie DeGooyer and Justin Martin. Trace elements from all three have found their way into this volume and Id like to express immense appreciation to my colleagues at frieze, and to Sukhdev, Stephanie, and Justin for giving me not just those first opportunities to rehearse my ideas but also for the invaluable conversations that followed.

This book would not have been possible without the generous advice, recommendations, and collective intellects of Chloe Aridjis, Stuart Bailey, Mark Beasley, David Birkin, Michael Bracewell, Tim Braden, Brian Catling, Jonty Claypole, Paul Clinton, Andy Cooke, Peter M. Coviello, Mark Fisher, Ben Furstenberg, Tom Gidley, Richard Hartshorn, Jrg Heiser, The Hermeneutic Circle, Jennifer Higgie, Sarah Hromack, Andrew Hultkrans, Jennifer Kabat, Katie Kitamura, Adam Kleinman, Hari Kunzru, Annie Godfrey Larmon, Claire Lehmann, The Leopards & Horses, David Levine, Jenny Lord, Laura Lord, Jessica Loudis, Brenda Lozano, Simon Martin, Jodhi May, Tom McCarthy, Molly McIver, Nathaniel Mellors, Olivia Mole, Tom Newth, David Noonan, George Pendle, Mick Peter, Max Porter, David Reinfurt, Simon Reynolds, Tyler Rowland, Anna Saltmarsh, Bob Stanley, Polly Staple, Emily Stokes, Sam Thorne, Lynne Tillman, Johnny Vivash, Sam Walls, Marcus Werner Hed, Chris Wiley, and Constance Wyndham. Special mention must go to Sierra Pettengill for her encouragement, feedback, and kindness during the writing process.

Finally, my biggest love and thanks go to Glenys, John, Mark, Karl, Ellen, and Osian, my family, without whom none of this ever would have happened.

Books and Essays

Viv Albertine, Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys (2014)

Jeffrey C. Alexander, Performance and Power (2011)

Aristotle, Rhetoric (4 BC)

Peter Bailey, Popular Culture and Performance in the Victorian City (1998)

Hugh Barker and Yuval Taylor, Faking It: The Quest for Authenticity in Popular Music (2007)

Howard S. Becker, Art Worlds (1982)

Howard S. Becker, Outsiders: Studies in the Sociology of Deviance (1963)

Jean Benedetti, The Art of the Actor (2005)

Marshall Berman, The Politics of Authenticity: Radical Individualism and the Emergence of Modern Society (1970)

Thomas Bernhard, Woodcutters (1984, English translation 1987)

Klaus Biesenbach, Introduction, Bjrk (exhibition catalog, 2015)

Pierre Bourdieu, Distinction: A Social Critique of theJudgement of Taste (1979, English translation 1984)

Michael Bracewell, England Is Mine: Pop Life in Albion fromWilde to Goldie (1997)

Michael Bracewell, The Nineties: When Surface Was Depth (2003)

Peter Brook, The Empty Space (1968)

Ronald Brownstein, Fantasy and Reality Intersect on K Street, Los Angeles Times (September 16, 2003)

Judith Butler, Gender Trouble (1990)

John Carey, The Intellectuals and the Masses: Pride andPrejudice among the Literary Intelligentsia 18801939 (1992)

Quentin Crisp, The Naked Civil Servant (1968)

Cameron Crowe, David Bowie interview, Playboy (September 1976)

Ben Davis, 9.5 Theses on Art and Class (2013)

Declan Donnellan, The Actor and the Target (2002)

Brian Eno, A Year with Swollen Appendices (1996)

Joseph Epstein, Snobbery: The American Version (2002)

Richard Faria, Been Down So Long It Looks Like Up to Me (1966)

Dan Fox, Act Natural: David Levine Talks to Dan Fox about Performing and Identity, frieze 156 (JuneJulyAugust 2013)

Dan Fox, Altercritics, blog.frieze.com (2009)

Dan Fox, Aspiring to the Condition of Cheap Music: Interview with Mark Leckey, Mark Leckey: On Pleasure Bent (eds. Patrizia Dander and Elena Filipovic, 2014)

Dan Fox, Prize Fights, blog.frieze.com (2008)

Thomas Frank, The Concept of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism (1997)

Harry G. Frankfurt, On Bullshit (2005)

Simon Frith and Howard Horne, Art into Pop (1987)

Paul Fussell, Class: A Guide through the American StatusSystem (1983)

Mary Gaitskill, The Easiest Thing to Forget, in Lets Talk about Love: Why Other People Have Such Bad Taste by Carl Wilson and contributors (revised and expanded edition, 2014)

J. R. Glaves-Smith and George Melly, A Child of Six Could Do It! Cartoons about Modern Art (1973)

Erving Goffman, The Presentation of Self in Everyday Life (1959)

Adam Gopnik, The Outside Game, The New Yorker (January 12, 2015)

Harvard Business Review 93, no. 1/2 (JanuaryFebruary 2015)

Lucas Hildebrand, Paris Is Burning: A Queer Film Classic (2013)

Will Hodgkinson, So, What Did You Learn at School Today? The Guardian (April 19, 2009)

Will Holder, Will Holder Speaks the Poetics of CONCRETE POETRY and Documenting the Work of FALKE PISANO, Dot Dot Dot 17 (Winter 20089)

K-Hole, Youth Mode: A Report on Freedom, khole.net (2014)

Jerzy Kosiski, Being There (1971)

Daniel J. Levitin, This Is Your Brain on Music: The Science of a Human Obsession (2006)

Lucy Lippard, The Pink Glass Swan, The Pink Glass Swan: Selected Essays on Feminist Art (1995)

Joseph Litvak, Strange Gourmets: Sophistication, Theory, and the Novel (1997)

David Mamet, True and False: Heresy and Common Sense for the Actor (1997)

Andrew Marr, Its Rude, Witty, but Is It Art? The Observer (November 26, 2000)

Richard Maxwell, Theater for Beginners (2015)

Momus, Kriedler/Momus Mnemorex Tour Journal: Chapter 2: Rumination on the Autobahn, imomus.com (2000)

Paul Morley, There Was Once a Time When the Only Art I Had on My Walls Was by Peter Saville, in Designed By Peter Saville (2003)

George Orwell, Politics and the English Language (essay, 1946)

Jonathan Raban, Soft City (1974)

Rory Rowan, SO NOW!: On Normcore, e-flux 58 (October 2014)

Tyler Rowland, Artists Uniform #13: Once Upon a Time... The End (5/16/2015) (exhibition handout, 2015)

J. D. Salinger, The Catcher in the Rye (1951)

Jon Savage, Saint Etienne, Foxbase Alpha (liner notes, 1991)

Richard Sennett, The Culture of the New Capitalism (2006)

David Sheppard, On Some Faraway Beach: The Life and Times of Brian Eno (2008)

Edith Sitwell, English Eccentrics: A Gallery of Weird and Wonderful Men and Women (1933)

Beverly Skeggs, Class, Self, Culture (2004)

Susan Sontag, Against Interpretation and Other Essays (1966)

Constantin Stanislavski, An Actor Prepares (1926, English translation 1937)

Charles Taylor, The Ethics of Authenticity

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