Iconomy: Towards a Political Economy of Images

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Notes

1 Terry Smith, The Architecture of Aftermath (Chicago: University of Chicago Press, 2006), 202.

2 The inscription inside the copy of Making the Modern in the Bernard Smith Collection reads: ‘To Bernard For everything over many years [heart symbol] Terry 6.5.93’.

3 Bernard Smith, Australian Painting: 1788–1990, with the three additional chapters on Australian painting since 1970 by Terry Smith (Melbourne: Oxford University Press, 1991).

4 Terry Smith, Making the Modern: Industry, Art, and Design in America (Chicago: University of Chicago Press, 1993), 2

5 Terry Smith, Curating the Complex & The Open Strike, ed. Steven Henry Madoff (Berlin: Sternberg Press, 2021).

6 For his publications on this concept, see Terry Smith, What is Contemporary Art? (Chicago: Chicago University Press, 2009); Terry Smith, ‘A Philosophy of Contemporary Art?: Some Reflections on Osborne’, in Three Reflections on Contemporary Art History, ed. Helen Hughes and Nicholas Croggon (Melbourne: Discipline, 2014), 75–88; and Terry Smith, The Contemporary Composition (Berlin: Sternberg Press, 2016). Put simply, Smith understands contemporaneity as synchronic, yet according to ‘the multiplicity of time’ in the present. See Terry Smith, ‘Defining Contemporaneity: Imagining Planetarity’, The Nordic Journal of Aesthetics 24, no. 49/50 (2016): 171.

7 Smith, Architecture of Aftermath, 16.

8 Dotan Leshem, ‘Retrospectives: What did the Ancient Greeks Mean by “Oikonomia?”’, The Journal of Economic Perspectives 30, no. 1 (2016): 225.

9 Alain Badiou, The Pornographic Age, trans. A.J. Bartlett and Justin Clemens (London: Bloomsbury, 2020), 13.

10 TNEG, ‘Ethos’, http://tneg.us/ethos (accessed 31 March 2023).

11 This is evident in Smith’s suspicion of ‘post-conceptual art’, and in this text he chooses not to refer to its main proponent, Peter Osbourne, by name.