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Showing posts with label Contemporary Art. Show all posts
Showing posts with label Contemporary Art. Show all posts
Sexed Universals in Contemporary Art
Allworth Press | Pages: 208 | 2003-12-01 | ISBN: 1581153139 | PDF | 2 MB
This interdisciplinary study of contemporary art and critical theory seeks to find new universal meaning in today's diversified, atomised art discourse. The book is written against the backdrop of the deconstructivist movements of the 1960s, when universalist notions such as race, gender, class and subjectivity were shoved aside to make room for a more diverse, inclusive culture.
Forty years into the age of difference, the author claims that with the artistic products of this new culture having reached maturity, it is safe to revise the "grand narratives" of modern times - and necessary: if we want to understand notions such as power and subjectivity in today's art, we cannot ignore the "grand narratives" of the modern age. Tracing examples of this new philosophy in contemporary painting, sculpture, film and digital arts, the author shows how gender can be the key to combine the old "universals" with today's culture of difference.
The book is not a return to modernist thought but an attempt to find new philosophical ground that combines the benefits of an interdisciplinary viewpoint with the advantages of specialization and diversification. The focus is on the British modernist sculptors - Barbara Hepworth, Lyne Lapointe and other contemporary female artists - who are juxtaposed with modernists ranging from Matisse and Picasso to Mallarme and Manet. The theoretical framework derives from work by Rosi Braidotti, Elizabeth Grosz and Luce Irigaray, as well as the author's recent research work titled "Differential Aesthetics". Artists, art critics, and art students with a knack for interdisciplinary study and an interest in a progressive philosophy should find much food for thought in this forward-thinking, visionary volume.
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Art Incorporated: The Story of Contemporary Art
Oxford University Press | 2005 | ISBN: 0192801651 | Pages: 240 | PDF | 7.22 MB
The art world is bound to the economy, writes Julian Stallabrass, "as tightly as Ahab to the white whale." In Art Incorporated, Stallabrass offers a provocative look at contemporary art and the dramatic changes that have taken place in the last twenty years, illuminating the connections between money, politics, and art.
Stallabrass notes that the spectacular crash of 1989 profoundly changed the character of contemporary art, shattering the art-world's self-importance and producing a reaction against art that engaged with theory and politics, in favor of art that set out to awe, entertain, and be sold. He describes the growth of biennials and other art events across the globe in the 1990s, the construction of new museums of contemporary art, and the expansion of many museums already in existence. These activities, Stallabrass writes, have become steadily more commercial, as museums establish alliances with corporations, bring their products closer to commercial culture, and move from modeling themselves on libraries to becoming more like theme parks.
In connection with this, he offers an insightful look at installation art, which is often seen as an art that firmly resists buying and selling, pointing out that installations appeal to museums precisely because a work of art that can only be seen on a particular site ensures that viewers have to go there. Shedding light on everything from the greatly increased visibility for women artists, to the intense competition between art and television, to the conservative backlash against notorious works, Art Incorporated provides a frank and penetrating view of the contemporary art world.
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The Third Hand: Collaboration in Art from Conceptualism to Postmodernism
University of Minnesota Press (2001-02) |Pages: 200 | PDF | ISBN 0816637121 | 22 mb
A major reevaluation of collaboration's role in art since 1968.
The lone artist is a worn cliché of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.
Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family-Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples-like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay-who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
Charles Green is an artist and a lecturer in the School of Art History and Theory at the University of New South Wales. He is the Australian correspondent for Artforum magazine and author of Peripheral Vision: Contemporary Australian Art 1970-94 (1995).
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Contemporary Art and Memory: Images of Recollection and Remembrance
Publisher: I. B. Tauris | 2008-01-15 | ISBN: 1845116194 | PDF | 344 pages | 3.53 MB
This is the first accessible survey book to explore the subject of memory as it appears in multiple guises in contemporary art. Highly readable and approached thematically, the book looks at both personal and public memory, dealing with art as autobiography, revisionist memory and postmemory, the memory as trace and the archive. It also considers the role played by the museum and gallery in the construction of history and knowledge.
Issues in Curating Contemporary Art and Performance
Intellect Ltd | ISBN: 184150162X | 2008 | PDF | 272 pages | 1,15 mb
To stay relevant, art curators must keep up with the rapid pace of technological innovation as well as the aesthetic tastes of fickle critics and an ever-expanding circle of cultural arbiters. Issues in Curating Contemporary Art and Performance argues that, despite these daily pressures, good curating work also requires more theoretical attention.
A Companion to Contemporary Art Since 1945
Wiley-Blackwell | 2006 | ISBN: 1405107944 | 648 pages
A Companion to Contemporary Art is a major survey covering the major works and movements, the most important theoretical developments, and the historical, social, political, and aesthetic issues in contemporary art since 1945, primarily in the Euro-American context.
