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We Are Many. Art, the Political and Multiple Truths Verbier Art Summit 2019
The Verbier Art Summit is an international platform for discourse in a non-transactional context.The non-profit Summit connects thought leaders to key figures in the art world to generate innovative ideas and drive social change.This is the third in the Summit publication series, disseminating key insights of the 2019 Summit and extending a global dialogue on the political power of art.We are Many: Art, the Political and Multiple Truths is the outcome of the Verbier Art Summit held from 31 January to 2 February 2019 in Verbier, Switzerland.The theme of the 2019 Verbier Art Summit and this accompanying publication were conceived by partnering museum director Jochen Volz of Pinacoteca de São Paulo, Brazil.This publication features 15 contributions from artists such as Rirkrit Tiravanija, Tania Bruguera, and Ernesto Neto; alongside notable museum curators/directors such as Jessica Morgan (Director of Dia Art Foundation), Maria Balshaw (Director of Tate), and Gabi Ngcobo (Director of the 10th Berlin Biennale).
Circus Portikus
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Lucia Koch
The first book of a monographic character about artist Lucia Koch (Porto Alegre, RS, 1996), whose production stands out in the national and international arts. Interventions with filters, glasses, videos and photographs are some of the media that the artist chose to investigate the relationship between light and space, always in dialogue with the architecture of the place where their works are installed. The changes proposed by Lucia not only modify the public's perception of the constructed world, but also their understanding of the lived space and its possibilities of use. The book contains an unpublished text by Dan Cameron, curator of the 13th edition of the Cuenca Biennial (Ecuador, 2016), and an interview with Jochen Volz, director of the São Paulo Pinacoteca and curator of the 32nd São Paulo Biennial, 2016.
Global Art in Local Art Worlds
This book explores the attribution and local negotiation of cultural valuations of artistic and art-institutional practices around the world, and considers the diverse ways in which these value attributions intersect with claims of universality and cosmopolitanism. Taking Michael Herzfeld’s notion of the “global hierarchy of value” as point of departure, the volume brings together six empirical studies of the collection, circulation, classification and exhibition of objects in present-day Brazil, China, India, Japan, South Africa and Indigenous Australia in light of Europe’s loss of global hegemony. Including reflections by a number of senior scholars, the chapters demonstrate that the question of valuation lies at the heart of artistic and art-institutional practices writ large – including museum practices, museum architecture, galleries, auction houses, art fairs and biennales.
The Cambridge Companion to Twenty-First Century American Fiction
Reading lists, course syllabi, and prizes include the phrase '21st-century American literature,' but no critical consensus exists regarding when the period began, which works typify it, how to conceptualize its aesthetic priorities, and where its geographical boundaries lie. Considerable criticism has been published on this extraordinary era, but little programmatic analysis has assessed comprehensively the literary and critical/theoretical output to help readers navigate the labyrinth of critical pathways. In addition to ensuring broad coverage of many essential texts, The Cambridge Companion to 21st Century American Fiction offers state-of-the field analyses of contemporary narrative studies that set the terms of current and future research and teaching. Individual chapters illuminate critical engagements with emergent genres and concepts, including flash fiction, speculative fiction, digital fiction, alternative temporalities, Afro-futurism, ecocriticism, transgender/queer studies, anti-carceral fiction, precarity, and post-9/11 fiction.
Heritage and Debt
How global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism. If European modernism was premised on the new—on surpassing the past, often by assigning it to the “traditional” societies of the Global South—global contemporary art reanimates the past as a resource for the present. In this account of what globalization means for contemporary art, David Joselit argues that the creative use of tradition by artists from around the world serves as a means of combatting modern art's legacy of Eurocentrism. Modernism claimed to live in the future and relegated the rest of the world to the past. Global contemporary art shatters th...
Art School
Leading international artists and art educators consider the challenges of art education in today's dramatically changed art world. The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today's artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the pra...
