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Critical Practice
Cover -- Title -- Copyright -- Dedication -- Contents -- List of figures -- List of plates -- Acknowledgements -- 1 Critical practice as reconciliation -- 2 Changing hands: ethical stewardship of collections -- 3 'Temple swapping': hybridity and social justice -- 4 Platforms: negotiating and renegotiating the terms of democracy -- 5 Reconciliation and the discursive museum -- Bibliography -- Index
Arthur Jafa - A Series of Utterly Improbable, Yet Extraordinary Renditions
Across three decades the American artist and cinematographer, Arthur Jafa (b. 1960, Tupelo, USA) has developed a dynamic, multidisciplinary practice ranging from films and installations to lecture-performances and happenings that tackle, challenge and question prevailing cultural assumptions about identity and race.Jafa's work is driven by a recurrent question: how might one identify and develop a specifically Black visual aesthetics equal to the 'power, beauty and alienation' of Black music in American culture?Building upon Jafa's image-based practice, this enormous new volume comprises a series of visual sequences that are cut and juxtaposed across its pages. The artist has been collecting...
Sondra Perry
Artist Sondra Perry (b. 1986, USA) foregrounds the tools of digital production in her videos and performances to reflect critically on new technologies of representation and to remobilise their potential. Her work revolves around black American history and ways in which technology shapes identities, often with her own personal history as a point of departure. The exhibition at the Serpentine Sackler Gallery will be Perry’s first solo presentation of her work in Europe and continues the Serpentine’s engagement with her practice, which began with her moving image intervention for the 2016 Park Nights series. The exhibition will include a site-specific installation incorporating existing works.
Libby Heaney
Libby Heaney worked for several years as a quantum physicist before turning to art. She is a pioneer in the use of quantum computing as an artistic technology, which she uses to create immersive visual worlds and develop a unique visual language that makes the multi-layered reality of the quantum world tangible to the senses. Her oeuvre includes video installations, game environments, sculptures, performances, and participatory experiments. This catalogue presents the latest works by this pioneering British artist. LIBBY HEANEY is an award-winning British artist and quantum physicist. She lives and works in London, UK. Heaney is considered the first artist to use quantum computing as a working artistic medium.
Speculation
A wide-ranging investigation of what speculation is, and what is at stake for artistic, curatorial, critical, and institutional practices in relating to their own speculative character. Engaging with the question of speculation in ways that encompass the artistic, the economic, and the philosophical, with excursions into the literary and the scientific, this collection approaches the theme as a powerful logic of contemporary life whose key instantiations are art and finance. Both are premised on the power of contingency, temporality, and experimentation in the creation (and capitalization) of possible worlds. Artistic autonomy, and the self-legislation of the space of art, have often been se...
Zaha Hadid
The mental space of painting, expressed in works that experiment with a new idea of existing urban panorama in search of visionary aesthetics. Zaha Hadid, winner of the Pritzker Architecture Prize in 2004, is world famous for projects such as the the MAXXI in Rome, the Fire Station at Vitra Design Museum or the Rosenthal Center for Contemporary Art in Cincinnati.
Junya Ishigami
Ishigami's design takes inspiration from roofs, the most common architectural feature used around the world.The design of the 2019 Serpentine Pavilion is made by arranging slates to create a single canopy roof that appears to emerge from the ground of the surrounding park.Within, the interior of the Pavilion is an enclosed cave-like space, a refuge for contemplation.For Ishigami, the Pavilion articulates his 'free space' philosophy in which he seeks harmony between man-made structures and those that already exist in nature.Serpentine Pavilion - 21 Jun 2019 to 6 Oct 2019
Organize
A pioneering systematic inquiry into—and mapping of—the field of media and organization Media organize things into patterns and relations. As intermediaries among people and between people and worlds, media shape sociotechnical orders. At the same time, media are organized: while they condition different organizational forms and processes, they, too, are formed and can be re-formed. This intimate relation of media and organizing is timeless. Yet arguably, digital media technologies repose the question of organization—and thus of power and domination, control and surveillance, disruption and emancipation. Bringing together leading media thinkers and organization theorists, this book int...
Lynette Yiadom-Boakye
Lynette Yiadom-Boakye is a figurative painter whose oil paintings focus on fictional figures that exist outside of a specific time and place.Typically, her works are completed in one day, a methodical approach that allows her to maintain neutral narratives and lends her paintings an indeterminate feel.At the heart of her work is an exploration of the mechanics of painting where she reconstructs the meaning that contemporary painting could hold, in all its unexpected beauty and idiosyncratic details.Lynette Yiadom-Boakye, born 1977 in London and now lives and works in London. She was a Turner Prize 2013 nominee.Published on the occasion of the exhibition at Serpentine Gallery, London, 2 June - 13 September 2015.
Productive failure
This title sets out to write new transnational South Asian art histories - to make visible histories of artworks that remain marginalised within the discipline of art history. However, this is done through a deliberate 'productive failure' - specifically, by not upholding the strictly genealogical approach that is regularly assumed for South Asian art histories. For instance, one chapter explores the abstract work of Cy Twombly and Natvar Bhavsar. The author examines 'whiteness', the invisible ground upon which racialized art histories often pivot, as a fraught yet productive site for writing art history. This book also provides original commentary on how queer theory can deconstruct and provide new approaches for writing art history. Overall, this title provides methods for generating art history that acknowledge the complex web of factors within which art history is produced and the different forms of knowledge-production we might count as art history.
