Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
The Postconceptual Condition
If, as Walter Benjamin claimed, "it is the function of artistic form.to make historical content into a philosophical truth" then it is the function of criticism to recover and to complete that truth. Never has this been more necessary or more difficult than with respect to contemporary art. Contemporary art is a point of condensation of a vast array of social and historical forces, economic and political forms and technologies of image production. Contemporary art expresses this condition, Osborne maintains, through its distinctively postconceptual form. These essays-extending the scope and arguments of Osborne's Anywhere or Not at All: Philosophy of Contemporary Art-move from philosophical consideration of the changing temporal conditions of capitalist modernity, via problems of formalism, the politics of art and the changing shape of art institutions, to interpretation and analysis of particular works by Akram Zataari, Xavier Le Roy and Ilya Kabakov, and the postconceptual situation of a crisis-ridden New Music.
Tutankhamun's Funeral
In 1907, more than a decade before the discovery of Tutankhamun s tomb, archaeologistsunearthed remains from the mummification and funeral of the pharaoh, who ruled ancient Egypt in the 14th century B.C. Now in the collection of The Metropolitan Museum of Art, these materials provide physical evidence of burial rites of the now-legendary king, who is making headlines once again after new scientific investigations to determine the cause of his early death. "Tutankhamun's Funeral" includes a classic text written in1941 by Herbert E. Winlock, one of the early 20th century s leading Egyptologists, featuring in-depth analysis of the objects and their significance. In addition, anintroduction and appendix by Dorothea Arnold update the findings with recent scholarship.The book isillustrated throughout with new color photography as well as many historical images and drawings."
The Politics of Art
Over the last three decades, a new generation of conceptual artists has come to the fore in the Arab Middle East. As wars, peace treaties, sanctions, and large-scale economic developments have reshaped the region, this cohort of cultural producers has also found themselves at the center of intergenerational debates on the role of art in society. Central to these cultural debates is a steady stream of support from North American and European funding organizations—resources that only increased with the start of the Arab uprisings in the early 2010s. The Politics of Art offers an unprecedented look into the entanglement of art and international politics in Beirut, Ramallah, and Amman to under...
Contemporary Art
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 Sofía Hernández 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
Pictures and the Past
"The group of artists known as the "Pictures Generation" are usually thought to have rebelled against abstract and minimalist art by bringing back figural techniques and borrowing liberally from the aesthetics of mass media and advertising. Challenging conventional interpretations of this group, Alexander Bigman argues that these artists-especially Robert Longo, Jack Goldstein, Sarah Charlesworth, Gretchen Bender, and Troy Brauntuch-deployed totalitarian and fascist iconography to pose new, politically loaded questions about what it means to perceive the world historically in a society saturated by images. Throughout, he also situates their work in the context of other developments taking place in New York City at the time, including music, fashion, cinema, and literature. This is a book about art, popular culture, and memory, and especially about how the specter of fascism loomed for these artists in the 1970s and 1980s, and the ways it still looms for us today"--
Artificial Hells
This searing critique of participatory art—from its development to its political ambitions—is “an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, ‘Now that’s art!’ or ‘That’s art?’” (Library Journal) Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance t...
Economics of Visual Art
Markets -- Cost -- Price -- Structure -- Failure -- Power -- Labor -- Property -- Investment -- Systems.
Disordered Attention
The ways we encounter contemporary art and performance is changing. Installations brim with archival documents. Dances stretch for weeks. Performances last a minute. Exhibitions are spread out over thirty venues. There are endless artworks about mid-century architecture and design. How are we expected to engage with today's diverse practise? Is the old model of close-looking still the ideal, or has it given way to browsing, skimming, and sampling? Across four essays, art historian and critic Claire Bishop identifies trends in contemporary practice- research-based installations, performance exhibitions, interventions, and invocations of modernist architecture-and their challenges to traditional modes of attention. Charting a critical path through the last three decades, Bishop pinpoints how spectatorship and visual literacy are evolving under the pressures of digital technology.
Political Disappointment
“Marcus shows the ways in which Black activists and writers, in particular, have continued to express their political desires. In doing so, she draws our attention to the centrality of disappointment in American political life.” —Keeanga-Yamahtta Taylor, New Yorker “Political Disappointment is an abundant text, overflowing with Sara Marcus’s considerable gifts. She is adept at presenting history and narrative with equal clarity; her writing is urgent but also optimistic. This is a book that is sometimes painful but never sacrifices hope or beauty.” —Hanif Abdurraqib Moving from the aftermath of Reconstruction through the AIDS crisis, a new cultural history of the United States ...
