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Author: James Voorhies Publisher: MIT Press ISBN: 0262035529 Category : Art Languages : en Pages : 287
Book Description
The rise of the exhibition as critical form and artistic medium, from Robert Smithson's antimodernist non-sites in 1968 to today's institutional gravitation toward the participatory. In 1968, Robert Smithson reacted to Michael Fried's influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form—and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the “participatory.” Beyond Objecthood focuses on innovative figures, artworks, and institutions that pioneered the exhibition as a critical form, tracing its evolution through the activities of curator Harald Szeemann, relational art, and New Institutionalism. Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.
Author: James Voorhies Publisher: MIT Press ISBN: 0262035529 Category : Art Languages : en Pages : 287
Book Description
The rise of the exhibition as critical form and artistic medium, from Robert Smithson's antimodernist non-sites in 1968 to today's institutional gravitation toward the participatory. In 1968, Robert Smithson reacted to Michael Fried's influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form—and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the “participatory.” Beyond Objecthood focuses on innovative figures, artworks, and institutions that pioneered the exhibition as a critical form, tracing its evolution through the activities of curator Harald Szeemann, relational art, and New Institutionalism. Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.
Author: Jason Gaiger Publisher: Yale University Press ISBN: 9780300101447 Category : Art Languages : en Pages : 374
Book Description
This reader, a companion to The Open University's four-volume Art of the Twentieth Century series, offers a variety of writings by art historians and art theorists. The writings were originally published as freestanding essays or chapters in books, and they reflect the diversity of art historical interpretations and theoretical approaches to twentieth-century art. Accessible to the general reader, this book may be read independently or to supplement the materials explored in the four course texts. The volume includes a general introduction as well as a brief introduction to each piece, outlining its origin and relevance.
Author: Peter Chametzky Publisher: Univ of California Press ISBN: 0520260422 Category : Art Languages : en Pages : 299
Book Description
This book provides an overview of twentieth-century German art, focusing on some of the period's key works. In Peter Chametzky's innovative approach, these works become representatives rather than representations of twentieth-century history. Chametzky draws on both scholarly and popular sources to demonstrate how the works (and in some cases, the artists themselves) interacted with, and even enacted, historical events, processes, and ideas.--[book jacket].
Author: Sara Callahan Publisher: Manchester University Press ISBN: 1526156849 Category : Art Languages : en Pages : 277
Book Description
Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns. Deftly combining writing on archives from different disciplines with artistic practices, the book clarifies the function and meaning of one of the most persistent artworld buzzwords of recent years, shedding light on the conceptual and historical implications of the so-called archival turn in contemporary art.
Author: Andrei Guruianu Publisher: Parlor Press LLC ISBN: 164317052X Category : Art Languages : en Pages : 299
Book Description
The Afterlife of Discarded Objects: Memory and Forgetting in a Culture of Waste As one of its driving principles, The Afterlife of Discarded Objects: Memory and Forgetting in a Culture of Waste analyzes the double reconstitution of discarded items. In this afterlife, discarded objects might transform from a worthless object into a plaything or a work of art, and then to an artifact marking a specific historical time period. This transformation is represented through various forms of recollection—stories, photographs, collectibles, heirlooms, monuments, and more. Shaped by nostalgia and wishful thinking, discarded objects represent what is wasted, desired, and aestheticized, existing at the intersection of individual and collective consciousness. While The Afterlife of Discarded Objects constitutes a version of revisionist historiography through its engagement with alternative anthropological artifacts, its ambition stretches beyond that to consider how seemingly immaterial phenomena such as memory and identity are embedded in and shaped by material networks, including ephemera. Guruianu and Andrievskikh create a written, visual, and virtual playground where transnational narratives fuse into a discourse on the persistent materiality of ephemera, especially when magnified through narrative and digital embodiment. The Afterlife of Discarded Objects is printed in full color and includes references, an index, and over seventy hi-resolution color images. “The Afterlife of Discarded Objects: Memory and Forgetting in a Culture of Waste uses contemporary theory, literature, popular culture, and personal narratives to investigate how we assign political, socio-cultural, and aesthetic meaning to objects. The book is unique in applying personal narratives and testimonies of contributors from around the world to provide insights and critiques of Western attitudes toward these objects. The Afterlife of Discarded Objects provides transformative social commentary through scrutiny and stories of discarded/found objects in Eastern Europe and in the West encouraging us to reflect more critically on our relationships with things. The stories and theories interwoven in Guruianu and Andrievskikh’s book turn memory into matter and aspire to teach through their exploration. It’s a lofty goal, and the book succeeds.” —Sohui Lee
Author: Rachel Middleman Publisher: Univ of California Press ISBN: 0520294580 Category : Art Languages : en Pages : 276
Book Description
In the 1960s, the fascination with erotic art generated a wave of exhibitions and critical discussion on sexual freedom, visual pleasure, and the nude in contemporary art. Radical Eroticism examines the importance of women’s contributions in fundamentally reconfiguring representations of sexuality across several areas of advanced art—performance, pop, postminimalism, and beyond. This study shows that erotic art made by women was integral to the profound changes that took place in American art during the sixties, from the crumbling of modernist aesthetics and the expanding field of art practice to the emergence of the feminist art movement. Artists Carolee Schneemann, Martha Edelheit, Marjorie Strider, Hannah Wilke, and Anita Steckel created works that exemplify these innovative approaches to the erotic, exploring female sexual subjectivities and destabilizing assumptions about gender. Rachel Middleman reveals these artists’ radical interventions in both aesthetic conventions and social norms.
Author: Lívia Nolasco-Rózsás Publisher: Hatje Cantz Verlag ISBN: 3775757589 Category : Art Languages : en Pages : 578
Book Description
Exhibition spaces are physical places of knowledge production and exchange. Their spatial properties play an important role in contextualizing information. Virtual stagings of exhibitions should therefore retain these properties. The Beyond Matter research project (2019–23) aims to unravel the intertwining of physical and virtual structures and their impact on spatial aspects in art production, curating, and art education, and thus to identify ways to preserve cultural heritage in the digital age. This publication offers a comprehensive overview of the diverse research activities, exhibition and book projects, and symposia that have taken place or emerged in the course of the international Beyond Matter project at the various partner institutions.
Author: Steven Horst Publisher: Oxford University Press ISBN: 0195317114 Category : Philosophy Languages : en Pages : 242
Book Description
Contemporary philosophers of mind tend to assume that the world of nature can be reduced to basic physics. Yet there are features of the mind consciousness, intentionality, normativity that do not seem to be reducible to physics or neuroscience. This explanatory gap between mind and brain has thus been a major cause of concern in recent philosophy of mind. Reductionists hold that, despite all appearances, the mind can be reduced to the brain. Eliminativists hold that it cannot, and that this implies that there is something illegitimate about the mentalistic vocabulary. Dualists hold that the mental is irreducible, and that this implies either a substance or a property dualism. Mysterian non-reductive physicalists hold that the mind is uniquely irreducible, perhaps due to some limitation of our self-understanding.In this book, Steven Horst argues that this whole conversation is based on assumptions left over from an outdated philosophy of science. While reductionism was part of the philosophical orthodoxy fifty years ago, it has been decisively rejected by philosophers of science over the past thirty years, and for good reason. True reductions are in fact exceedingly rare in the sciences, and the conviction that they were there to be found was an artifact of armchair assumptions of 17th century Rationalists and 20th century Logical Empiricists. The explanatory gaps between mind and brain are far from unique. In fact, in the sciences it is gaps all the way down.And if reductions are rare in even the physical sciences, there is little reason to expect them in the case of psychology.Horst argues that this calls for a complete re-thinking of the contemporary problematic in philosophy of mind. Reductionism, dualism, eliminativism and non-reductive materialism are each severely compromised by post-reductionist philosophy of science, and philosophy of mind is in need of a new paradigm.Horst suggests that such a paradigm might be found in Cognitive Pluralism: the view that human cognitive architecture constrains us to understand the world through a plurality of partial, idealized, and pragmatically-constrained models, each employing a particular representational system optimized for its own problem domain. Such an architecture can explain the disunities of knowledge, and is plausible on evolutionary grounds.
Author: Lisa Foran Publisher: Springer ISBN: 3319392328 Category : Philosophy Languages : en Pages : 220
Book Description
This book explores the relation between Heidegger, Levinas and Derrida by means of a dialogue with experts on the work of these mutually influential thinkers. Each essay in this collection focuses on the relation between at least two of these three philosophers focusing on various themes, such as Alterity, Justice, Truth and Language. By contextualising these thinkers and tracing their mutually shared themes, the book establishes the question of difference and its ongoing radicalization as the problem to which phenomenology must respond. Heidegger’s influence on Derrida and Levinas was quite substantial. Derrida once claimed that his work ‘would not have been possible without the opening of Heidegger’s questions.’ Equally, as peers, Derrida and Levinas commented on and critiqued each other’s work. By examining the differences between these thinkers on a variety of themes, this book represents a philosophically enriching project and essential reading for understanding the respective projects of each of these philosophers.
Author: Adam Loughnane Publisher: SUNY Press ISBN: 1438476116 Category : Philosophy Languages : en Pages : 444
Book Description
Places the phenomenologies of Merleau-Ponty and Nishida in dialogue and uncovers a demand for a motor-perceptual form of faith in both philosophers’ meditations on artistic expression. In Merleau-Ponty and Nishida, Adam Loughnane initiates a fascinating new dialogue between two of the twentieth century’s most important phenomenologists of the Eastern and Western philosophical worlds. Throughout the book, the reader is guided among the intricacies and innovations of Merleau-Ponty’s and Nishida’s ontological approaches to artistic expression with a focused look at a rarely explored connection between faith and negation in their philosophies. Exploring the intertwining of these concepts in their broader ontologies invokes a reappraisal of the ambiguous status of religion and art in the writings of both thinkers. Measuring these ambiguities, the ontologies of Flesh and Basho are read in-depth alongside great artworks and the motor-perceptual practices of seminal landscape artists such as Cézanne, Sesshū, Taiga, and Hasegawa, as well as other major figures of European, Chinese, and Japanese art history. Loughnane studies these artists’ bodily practices, focusing on the intimate relations realized with the landscapes they paint, and illuminating a valence of their expressive disciplines as a motor-perceptual form of faith. Merleau-Ponty and Nishida is an exciting intercultural reading, expanding two philosophers’ projects toward new horizons of research, revealing incitements in their writings that challenge unambiguous distinctions between art, philosophy, faith, and ultimately philosophy East and West. “Loughnane illuminates the ambiguous, chiasmatic, and dynamic relationality between the body and the world, providing concrete examples from art history East and West. He not only skillfully explains Nishida’s and Merleau-Ponty’s ontological notions, but also puts their philosophy to the test of art works, proving that their thinking reveals an important truth of art.” — Takeshi Kimoto, Chukyo University
Author: James Voorhies
Author: James Voorhies
Author: Jason Gaiger
Author: Peter Chametzky
Author: Sara Callahan
Author: Andrei Guruianu
Author: Rachel Middleman
Author: Lívia Nolasco-Rózsás
Author: Steven Horst
Author: Lisa Foran
Author: Adam Loughnane