Postmodern art raises doubt about realism’s capacity to convey the being of labor

Evidence

The only other generally late modern or postmodern work in which tools and materials are so insistently foregrounded is Claude Simon Legon de chases, (see chapter five, below) a conscious reply to “Marxism” and a work which, along with the Gehry house, raises the question of the comparative capacities of realism and Postmodernism, respectively, to convey the reality and the being of labor and of what Heidegger called das Gestell (instrumentation). — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 949

Categorization

• XREF: Heidegger’s das Gestell instrumentality connects to the author’s broader thesis about late-capitalist technologization of production. — connects to: Realism in art can mean immersive presence rather than faithful visual imitation — Jenny Odell, How to Do Nothing: Resisting the…, 357; Postmodern culture is tactile and operative, not visual and representational — Jean Baudrillard, Simulacra and Simulation, 237; Postmodern realism yields only ideological images, never unmediated reality — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 362
• DEFINE: Glosses Heidegger’s das Gestell as instrumentation, central to the labor question at stake.
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Realism in art can mean immersive presence rather than faithful visual imitation — Jenny Odell, How to Do Nothing: Resisting the…, 357; Postmodern culture is tactile and operative, not visual and representational — Jean Baudrillard, Simulacra and Simulation, 237; Postmodern realism yields only ideological images, never unmediated reality — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 362