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Transition in Post-Soviet Art
"With an abridged translation of the Dictionary of Moscow Conceptualism."
JFL
This funny, dry and absurd twist on conventional art criticism serves as a great reference book for 20th Century art criticism. In 2001, while residing at Akademie Schloss Solitude in Stuttgart, artist and curator Octavian Esanu read hundreds of interviews and essays by artists and art critics. He then formed a new text out of the questions about art which he had culled from his readings. Each question is duly footnoted. The results are hilarious, absurd and profound. Originally published in 2002 in Germany by Edition Solitude, JFL: What Does "Why" Mean? is now available in North America, re-typeset and printed by J&L.
The postsocialist contemporary
The postsocialist contemporary joins a growing body of scholarship debating the definition and nature of contemporary art. It comes to these debates from a historicist perspective, taking as its point of departure one particular art programme, initiated in Eastern Europe by the Hungarian-American billionaire George Soros. First implemented in Hungary, the Soros Center for Contemporary Art (SCCA) expanded to another eighteen ex-socialist countries throughout the 1990s. Its mission was to build a western ‘open society’ by means of art. This book discusses how network managers and artists participated in the construction of this new social order by studying the programme’s rise, evolution, impact and broader ideological and political consequences. Rather than recounting a history, its engages critically with ‘contemporary art’ as the aesthetic paradigm of late-capitalist market democracy.
Contemporary Art and Capitalist Modernization
This book addresses the art historical category of "contemporary art" from a transregional perspective, but unlike other volumes of its kind, it focuses in on non-Western instantiations of "the contemporary." The book concerns itself with the historical conditions in which a radically new mode of artistic production, distribution, and consumption – called "contemporary art" – emerged in some countries of Eastern Europe, the post-Soviet republics of the USSR, India, Latin America, and the Middle East, following both local and broader sociopolitical processes of modernization and neoliberalization. Its main argument is that one cannot fully engage with the idea of the "global contemporary"...
A Companion to Contemporary Art in a Global Framework
A Companion to Contemporary Art in a Global Framework explores the ways specialists and institutions in the fine arts, curation, cultural studies, and art history have attempted to situate art in a more global framework since the 1980s. Offering analyses of the successes and setbacks of these efforts to globalize the art world, this innovative volume presents a new and exciting way of considering art in its global contexts. Essays by an international panel of leading scholars and practicing artists assert that what we talk about as ‘art’ is essentially a Western concept, thus any attempts at understanding art in a global framework require a revising of established conceptual definitions....
Art, Awakening, and Modernity in the Middle East
This edited scholarly volume offers a perspective on the history of the genre of the nude in the Middle East and includes contributions written by scholars from several disciplines (art history, history, anthropology). Each chapter provides a distinct perspective on the early days of the fine arts genre of the nude, as its author studies a particular aspect through analysis of artworks and historical documents from the late nineteenth- and early twentieth-centuries. The volume examines a rich body of reproductions of both primary documents and of works of art made by Lebanese, Egyptian, Syrian artists or of anonymous book illustrations from the nineteenth century Ottoman erotic literature.
Art as Demonstration
How artists wield demonstration to question the status quo both aesthetically and politically, marshaling art and education as powerful agents of change. Demonstration, in short, says: See here. It is the practice of pointing to something in order to explain or contest it. As such, Sven Spieker argues that demonstration has helped reshape art from the height of the Cold War to the late twentieth century, reformatting our understanding of how art and political engagement relate to each other. Focusing on Western Europe (especially Germany), Eastern Europe, and the United States, Art as Demonstration expands on contemporary discussions of art-as-protest, activism, and resistance. Spieker shows...
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...
Mimesis, Expression, Construction
Mimesis, Expression, Construction brings Fredric Jameson's famous Duke University seminar on Adorno’s Aesthetic Theory into print for the first time. Transcribed and edited from audio recordings taken by Octavian Esanu of the original seminar at Duke University in 2003, Mimesis, Expression, Construction reproduces Jameson and his students' engagement with Aesthetic Theory, one of the most influential theories of modernist aesthetics. The first and only published record of Jameson's teaching and pedagogic style, the seminar delves into modern and modernist aesthetics through the perspectives of Kant, Hegel, Freud, Schopenhauer, and Nietzsche; Benjamin and other members of the Frankfurt Scho...
Performance Artists Talking in the Eighties
Performance artist Linda Montano, curious about the influence childhood experience has on adult work, invited other performance artists to consider how early events associated with sex, food, money/fame, or death/ritual resurfaced in their later work. The result is an original and compelling talking performance that documents the production of art in an important and often misunderstood community. Among the more than 100 artists Montano interviewed from 1979 to 1989 were John Cage, Suzanne Lacy, Faith Ringgold, Dick Higgins, Annie Sprinkle, Allan Kaprow, Meredith Monk, Eric Bogosian, Adrian Piper, Karen Finley, and Kim Jones. Her discussions with them focused on the relationship between art and life, history and memory, the individual and society, and the potential for individual and social change. The interviews highlight complex issues in performance art, including the role of identity in performer-audience relationships and art as an exploration of everyday conventions rather than a demonstration of virtuosity.
