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Contemporary art: 1989 to the present

Contemporary art: 1989 to the present

Dumbadze, Alexander Blair, 1973-; Hudson, Suzanne Perling, 1977-

An integrated account of today's contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. An engaging account of today's contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. Features a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989 Each topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways Topics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship International in scope, bringing together over forty of the most important voices in the field, including Sofa Hernndez Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan Verwoert A stimulating guide that will encourage polemical interventions and foster critical dialogue among both students and art aficionados

eBook, Electronic resource, Book. English. Electronic books.
Published Oxford: Wiley-Blackwell, 2012
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Details

Statement of responsibility: edited by Alexander Dumbadze, Suzanne Hudson
ISBN: 1118298896, 9781118298893
Physical Description: 496 p.
Subject: History of art; Art and Design.; Art, Modern 20th century.; Art, Modern 21st century.
Reproduction: Electronic reproduction. Askews and Holts. Mode of access: World Wide Web.
Other formats: Also available in printed form ISBN 9781444338669

Contents

  1. Contributors ix
  2. INTRODUCTION 1 Alexander Dumbadze and Suzanne Hudson
  3. 1 THE CONTEMPORARY AND GLOBALIZATION
  4. Worlds Apart: Contemporary Art, Globalization, and the Rise of Biennials 7 Tim Griffin
  5. “Our” Contemporaneity? 17 Terry Smith
  6. The Historicity of the Contemporary is Now! 28 Jean-Philippe Antoine
  7. 2 ART AFTER MODERNISM AND POSTMODERNISM
  8. Elite Art in an Age of Populism 39 Julian Stallabrass
  9. “Of Adversity we Live!” 50 Monica Amor
  10. Making it Work: Artists and Contemporary
  11. Art in China 60 Pauline J. Yao
  12. 3 FORMALISM
  13. Form Struggles 72 Jan Verwoert
  14. Formalism Redefined 84 Anne Ellegood
  15. The World in Plain View: Form in the Service of the Global 95 Joan Kee
  16. 4 MEDIUM SPECIFICITY
  17. The (Re)Animation of Medium Specificity in Contemporary Art 107 Sabeth Buchmann
  18. Medium Aspecificity/Autopoietic Form 117 Irene V. Small
  19. Specificity 126 Richard Shiff
  20. 5 ART AND TECHNOLOGY
  21. Test Sites: Fabrication 139 Michelle Kuo
  22. Inhabiting the Technosphere: Art and Technology Beyond Technical Invention 149 Ina Blom
  23. Conceptual Art 2.0 159 David Joselit
  24. 6 BIENNIALS
  25. In Defense of Biennials 171 Massimiliano Gioni
  26. Curating in Heterogeneous Worlds 178 Geeta Kapur
  27. Biennial Culture and the Aesthetics of Experience 192 Caroline A. Jones
  28. 7 PARTICIPATION
  29. Participation 204 Liam Gillick and Maria Lind
  30. The Ripple Effect: “Participation” as an Expanded Field 214 Johanna Burton
  31. Publicity and Complicity in Contemporary Art 224 Sofía Hernández Chong Cuy
  32. 8 ACTIVISM
  33. Activism 234 Andrea Giunta
  34. Knit Dissent 245 Julia Bryan-Wilson
  35. Light from a Distant Star: A Meditation on Art, Agency, and Politics 254 Raqs Media Collective
  36. 9 AGENCY
  37. Participation in Art: 10 Theses 267 Juliane Rebentisch
  38. Fusions of Powers: Four Models of Agency in the Field of Contemporary Art, Ranked Unapologetically in Order of Preference 277 Tirdad Zolghadr
  39. Life Full of Holes: Contemporary Art and Bare Life 287 T. J. Demos
  40. 10 THE RISE OF FUNDAMENTALISM
  41. Monotheism à la Mode 300 Sven Lütticken
  42. Freedom’s Just Another Word 311 Terri Weissman
  43. On the Frontline: The Politics of Terrorism in Contemporary Pakistani Art 322 Atteqa Ali
  44. 11 JUDGMENT
  45. Judgment’s Troubled Objects 333 João Ribas
  46. A Producer’s Journal, or Judgment A Go-Go 346 Frank Smigiel
  47. After Criticism 357 Lane Relyea
  48. 12 MARKETS
  49. Globalization and Commercialization of the Art Market 369 Olav Velthuis
  50. Three Perspectives on the Market 379 Mihai Pop, Sylvia Kouvali, and Andrea Rosen
  51. Untitled 388 Ayreen Anastas and Rene Gabri
  52. 13 ART SCHOOLS AND THE ACADEMY
  53. Lifelong Learning 408 Katy Siegel
  54. Art without Institutions 420 Anton Vidokle
  55. Will the Academy Become a Monster? 429 Pi Li
  56. 14 SCHOLARSHIP
  57. Our Literal Speed
  58. Our Literal Speed Globalization, Art History, and the Specter of Difference 447 Chika Okeke-Agulu
  59. The Academic Condition of Contemporary Art 457 Carrie Lambert-Beatty
  60. Index

Author note

Alexander Dumbadze is assistant professor of contemporary art at George Washington University. He is president of the Society of Contemporary Art Historians and a cofounder of the Contemporary Art Think Tank. He has written essays for a number of international exhibition catalogues, and is a recipient of the Creative Capital| Warhol Foundation Arts Writers Grant.  His book Bas Jan Ader: Death is Elsewhere is forthcoming in 2013.

Suzanne Hudson is assistant professor of contemporary art at the University of Southern California. She is president emeritus and chair of the executive committee of the Society of Contemporary Art Historians and a cofounder of the Contemporary Art Think Tank. In addition to her work as an art historian, she is an active critic whose work has appeared in international exhibition catalogues and such publications as Parkett, Flash Art, and Art Journal; she is a regular contributor to Artforum. In 2009 she published Robert Ryman: Used Paint, and Painting Now is forthcoming in 2013.

Reviews

“Interesting and pertinent topics [covered] are the globalization of the art world, the expansion of biennial and art fairs as venues, the use of technology as a medium, the theme of social activism, and the relevant education of the studio artist … The essays are consistently well written and include copious notes … Recommended.” Choice (1 August 2013)

“With its rich roster of art historians, critics, and curators, Contemporary Art: 1989 to the Present provides the essential chart of this new field. “
- Hal Foster, Princeton University

“Featuring a diverse and exciting line-up of international critics, curators and art historians, Contemporary Art: 1989 to the Present is an indispensable introduction to the major issues shaping the study of contemporary art.”
- Pamela Lee, Stanford University

“In Contemporary Art: 1989 to the Present, a new generation of critics and scholars comes of age.  Full of fresh ideas, engaged writing, and provocative proposals about the art of the current moment and the immediate past, this book is sure to become the standard, 'go to' text in the field of contemporary art history.”
- Richard Meyer, author of What was Contemporary Art?

Back cover copy

The contemporary art world has expanded exponentially—in both size and complexity—over the last two decades, leading to a general uncertainty as to what matters and why. Contemporary Art: 1989 to the Present provides an unparalleled resource for students, artists, scholars, and art enthusiasts who are eager to navigate today’s art world. It is the first collection of its kind to bring together fresh perspectives from leading international art historians, critics, curators, and artists for a comprehensive discussion of what contemporary art is today.

Divided into fourteen thematic clusters, each section presents three essays that offer a kaleidoscope of lively and expert viewpoints on each topic. Topics include globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, and art schools, and scholarship. These clusters organize material in distinct and overlapping ways, allowing readers to customize their approach to their needs. 

With up-to-date research concerns as well as more enduring topics, this text will provoke lively discussion regarding contemporary art, its study, and its historiography. Contemporary Art: 1989 to the Present provides a much-needed examination of the unique contemporary situation, and an encapsulation of a complex intellectual zeitgeist.