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Exhibiting the New Art
The 'new art' of the late 1960s was shown in two landmark exhibitions in 1969: Op Losse Schroeven and When Attitudes Become Form. This book reveals how each brought together Arte Povera, Anti-Form, Conceptual and Land art, whilst challenging such categories and introducing innovative curatorial approaches. Christian Rattemeyer offers a rich comparative analysis of the two exhibitions, exploring the related but differing approaches of the two curators – Wim Beeren and Harald Szeemann – in two distinct institutional settings: the Stedelijk Museum in Amsterdam and the Kunsthalle Bern. Numerous installation photographs enable a virtual 'walk through' of each exhibition, while meticulous chronologies detail the negotiations that shaped them. Crucial texts from the time are complemented by new research and fascinating recent interviews with participating artists. Included are interviews with Marinus Boezem, Jan Dibbets, Ger van Elk, Piero Gilardi and Richard Serra. This book is Volume 1 in the Exhibition Histories series, which investigates shows that have shaped the way contemporary art is experienced, made and discussed.
Reconstructing Exhibitions in Art Institutions
Reconstructing Exhibitions in Art Institutions spans exhibition histories as anti-apartheid activism within South African community arts; collectivities and trade unions in Argentina; Civil Rights movements and Black communities in Baltimore; institutional self-critique within the neoliberal museum; reframing feminisms in USA; and revisiting Cold War Modernisms in Eastern Europe among other themes. An interdisciplinary project with a global reach, this edited volume considers the theme of exhibitions as political resistance as well as cultural critique from global perspectives including South Africa, Latin America, Eastern Europe, USA and West Europe. The book includes contributions by ten a...
The Emancipated Museum
"Steven ten Thije engages in a personal inquiry into the importance of art museums in a society that is becoming ever more fragmented. In spite of the unprecedented success of museums in attracting visitors, the future of the museum is uncertain. Museums may appear calm and self-assured to outsiders, but not even this noble showcase of art is immune to the cracks in society. The tensions between high and low, newcomer and native, rich and poor insidiously worm their way into the museum foundations like concrete decay. Society is adrift and the museum has to follow in its wake. Ten Thije looks for a new future in which art museums can become part of a new emancipation movement; a future in which museums offer an open environment that gives priority to the quality of the museum visit and challenges visitors to make their own choices"--Page 4 of cover.
Vistas of Modernity
We are living in a time of polarization. Cultural and educational institutions are confronted with the responsibility to provide tools and spaces for critical reflection, for engagement, and, more fundamentally, for meeting and recognizing each other in our differences. In this decolonial essay Rolando Vázquez introduces his critique which offers an option for thinking and doing beyond the dominant paradigms. It provides a critical analysis of modernity understood broadly as the western project of civilization, while it seeks to overcome the dominion of western epistemology and aesthetics and their embedded eurocentrism and anthropocentrism. Importantly for decolonial thought we are all loc...
Propaganda Art in the 21st Century
How to understand propaganda art in the post-truth era—and how to create a new kind of emancipatory propaganda art. Propaganda art—whether a depiction of joyous workers in the style of socialist realism or a film directed by Steve Bannon—delivers a message. But, as Jonas Staal argues in this illuminating and timely book, propaganda does not merely make a political point; it aims to construct reality itself. Political regimes have shaped our world according to their interests and ideology; today, popular mass movements push back by constructing other worlds with their own propagandas. In Propaganda Art in the 21st Century, Staal offers an essential guide for understanding propaganda art...
Escape the Overcode
" ... contains a selection of texts and essays by the writer, Brian Holmes, that engage with the possibilities and problematics of geopolitics and geopoetics. Holmes is a crucial contemporary writer and thinker whose insight into current social and political developments and how they relate to artistic processes opens up a new field of 'geocritique.' The examples he cites extend across Latin America, Europe and Asia, where he looks at networks, artworks, films, institutions and protest movements for signs of how future strategies might be shaped. The texts are connected with the long-term collaborative research project, Continental Drift."--P. [6].
Art and Its Worlds: Exhibitions, Institutions and Art Becoming Public Exhibition Histories Vol. 12
An anthology of essays on art's relation to the public realm since 1989 This critical anthology explores the myriad histories and worlds through which art is produced and experienced. It is guided by the following questions: How are the "global" and the "located" shaped and understood in disparate contexts and times? How have artists experimented with modes of exhibition-making and public presentation? Key essays previously published by Afterall are included alongside new image-led presentations, translated material and commissioned texts. The anthology addresses the topic in both theoretical terms and through case studies. Contributors include: Silvia Rivera Cusicanqui, Miguel A. López, Eddie Chambers, Francesca Recchia, Pablo Lafuente, Philippe Pirotte, Ntone Edjabe, Clémentine Deliss, Khwezi Gule, Charles Gaines, David Teh, Ekaterina Degot, Ana Teixeira Pinto, María Berríos, Mujeres Creando, Comunitario del Valle de Xico, Tonika Sealy Thompson and Stefano Harney.
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
What's the Use?
Is art only art insofar as it refuses to be useful? How do people understand art's ability to know the world, to develop ethics, to express sense of historical belonging and to be, in different ways to different people, useful? Starting with the premise that art is best understood in dialogue with the social sphere, publication examines how the exchange between art, knowledge and use has historically been set up and played out. Theorists and artists included in this volume seek an answer to the question: how can art know, and change, the world?
The Way Beyond Art
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