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Retroactivity and Contemporary Art by Craig Staff Pdf
Contemporary art is often preoccupied with time, or acts in which the past is recovered. Through specific case studies of artists who strategically work with historical moments, this book examines how art from the last two decades has sought to mobilize these particular histories, and to what effect, against the backdrop of Modernism. Drawing on the art theory of Rosalind Krauss and the philosophies of Paul Ricoeur, Gerhard Richter, and Pierre Nora, Retroactivity and Contemporary Art interprets those works that foreground some aspect of retroactivity – whether re-enacting, commemorating, or re-imagining – as key artistic strategies. This book is striking philosophical reflection on time within art and art within time, and an indispensable read for those attempting to understand the artistic significance of history, materiality, and memory.
Retroactivity and Contemporary Art by Craig Staff Pdf
Contemporary art is often preoccupied with time, or acts in which the past is recovered. Through specific case studies of artists who strategically work with historical moments, this book examines how art from the last two decades has sought to mobilize these particular histories, and to what effect, against the backdrop of Modernism. Drawing on the art theory of Rosalind Krauss and the philosophies of Paul Ricoeur, Gerhard Richter, and Pierre Nora, Retroactivity and Contemporary Art interprets those works that foreground some aspect of retroactivity – whether re-enacting, commemorating, or re-imagining – as key artistic strategies. This book is striking philosophical reflection on time within art and art within time, and an indispensable read for those attempting to understand the artistic significance of history, materiality, and memory.
Book of images from a series of three exhibitions held at the Canberra Contemporary Art Space, Canberra, from 22 September - 2 October 2005, 2 -12 November 2006 and 28 August - 7 September 2008.
Author : Joan Kee Publisher : University of California Press Page : 320 pages File Size : 54,9 Mb Release : 2019-02-12 Category : Art ISBN : 9780520299382
Models of Integrity examines the relationship between contemporary art and the law through the lens of integrity. In the 1960s, artists began to engage conspicuously with legal ideas, rituals, and documents. The law—a primary institution subject to intense moral and political scrutiny—was a widely recognized source of authority to audiences inside the art world and out. Artists frequently engaged with the law in ways that signaled a recuperation of the integrity that they believed had been compromised by the very institutions entrusted with establishing standards of just conduct. These artists sought to convey the social purpose of an artwork without overstating its political impact and without losing sight of how aesthetic decisions compel audiences to see their everyday world differently. Addressing the role that law plays in enabling artworks to function as social and political forces, this important book fills a gap in the field of law and the humanities, and will serve as a practical “how-to” for contemporary artists.
This book offers a comprehensive view of Greer's work and his commitment to the discourse of sculpture. Stunningly designed by Susanne Schaal and featuring the photographs of Raoul Manuel Schnell, the book contains more than three hundred representations of Greer and his work — in situ, in galleries, in process — bringing into focus Greer's significant contributions to the world of art and ideas. Also included in the book are essays by Ray Cronin, Andria Minicucci, Dennis Reid, Ron Shuebrook, David Diviney, Sarah Fillmore, and Vanessa Paschakarnis.
Professional Historians in Public by Berber Bevernage,Lutz Raphael Pdf
The past decades public interest in history is booming. This creates new opportunities but also challenges for professional historians. This book asks how historians deal with changing public demands for history and how these affect their professional practices, values and identities. The volume offers a great variety of detailed studies of cases where historians have applied their expertise outside the academic sphere. With contributions focusing on Latin America, Africa, Asia, the Pacific and Europe the book has a broad geographical scope. Subdivided in five sections, the book starts with a critical look back on some historians who broke with mainstream academic positions by combining their professional activities with an explicit political partisanship or social engagement. The second section focusses on the challenges historians are confronted with when entering the court room or more generally exposing their expertise to legal frameworks. The third section focuses on the effects of policy driven demands as well as direct political interventions and regulations on the historical profession. A fourth section looks at the challenges and opportunities related to the rise of new digital media. Finally several authors offer their view on normative standards that may help to better respond to new demands and to define role models for publicly engaged historians. This book aims at historians and other academics interested in public uses of history.
For the past thirty to forty years, cultural analysis has focused on developing terms to explain the surpassing of modernity. Discussion is stranded in an impasse between those who view the term modernity with automatic disdain-as deterministic, Eurocentric or imperialistic-and a booming interest that is renewing the study of modernism. Another dilemma is that the urge to move away from, or beyond, modernity arises because it is viewed as difficult, even unsavoury. Yet, there has always been a view of modernity as somehow difficult to live with, and that has been said by figures we regard today as typical modernists. McNamara argues in this book that it is time to forget the quest to surpass modernity. Instead, we should re-examine a legacy that continues to inform our artistic conceptions, our political debates, our critical justifications, even if that legacy is baffling and contradictory. We may find it difficult to live with, but without recourse to this legacy, our critical-cultural ambitions would remain seriously diminished. How do we explain the culture we live in today? And how do we, as citizens, make sense of it? This book suggests these questions have become increasingly difficult to answer.
Writing in "Before the Image, Before Time: The Sovereignty of Anachronism," (2003) Georges Didi-Huberman identifies three discrete temporalities at work within a fresco painted by Fra Angelico for the San Marco convent in Florence during the 1440s. In the first instance, he observes that the painting's trompe l'oeil frame stems from what would have been the prevalent mimetic style during the period within which the fresco was painted and in this respect, is "euchronistic" or of its time. However, the fresco also betrays "anachronistic" qualities through its so-called "mnemonic" use of colour. Finally, and as Didi-Huberman notes, "the dissimilitudo, the dissemblance at work in this pointed surface goes back even further." Evidently then, both the production and subsequent interpretation of painting entails if not is foregrounded by multiple layers of chronology, tense and time. Such an admission is coincident with both a renewed interest in painting's relationship to its past and more broadly art's relationship with time. According to Laura Hoptman, writing in the exhibition catalogue that accompanied The Forever Now: Contemporary Painting in an Atemporal World at MoMA in 2015, "what attracts artists to painting at a time when digital technology offers seemingly limitless options with less art-historical baggage is precisely its art historical baggage..." Moreover, in Visual Time: The Image in History, Keith Moxey has recently asked "where and when is the time in the history of art?" Against a backdrop of artistic practices that are characteristic of the so-called "historiographic turn," an approach to art making that has encompassed strategies of excavation, re-enactment and memorialization but as such have notably been to the exclusion of painting, Sites of Time: Painting, History and Meaning seeks to examine painting's relationship with time and with events, ideas and paintings derived from the past. Following Jean-Francois Lyotard's determination of painting as entailing a series of temporal sites, the proposed study will examine key works by artists including Luc Tuymans, Gerald Byrne, Alison Watt, Marlene Dumas, Genieve Figgis, Wang Xingwei and Dexter Dalwood. Necessarily moving beyond the appropriationist strategies of postmodernism with its proclivity to quote from and tendentiously juxtapose elements that were historically or culturally remote, what the proposed study will evince is that through its engagement with history and historical materials, time as it is given within the context of contemporary painting is multi-directional, heterogeneous and resoundingly non-linear.
Haunted Data explores the concepts that are at work in our complex relationships with data. Our engagement with data – big or small – is never as simplistic or straightforward as might first appear. Indeed, Blackman argues that our relationship with data is haunted with errors, dead ends, ghostly figures, and misunderstandings that challenge core assumptions about the nature of thought, consciousness, mind, cognition, affect, communication, control and rationality, both human and non-human. Using contemporary controversies from 'weird science' including the field of priming and its uncanny relations to animal telepathy, as well as artificial intelligences and their curious relation to psychic research ('clairvoyant computers'), Blackman shows how some of the current crises in science in these areas reveal more than scientists are willing or even able to acknowledge. In addition to proposing a new theory of how we might engage with data, Haunted Data also provides a nuanced survey of the historical context to contemporary debates, going back to the 19th Century origins of modern computation and science to explain the ubiquity and oddness of our data relations. Drawing from radical philosophies of science, feminist science studies, queer theory, cultural studies, and the field of affect studies, the book develops a manifesto for how artists, philosophers and scientists might engage creatively and critically with science within the context of digital communication.
How does contemporary art best respond to social crisis? Through reflection on its own crisis of form Criticism of contemporary art is split by an opposition between activism and the critical function of form. Yet the deeper, more subterranean terms of art-judgment are largely neglected on both sides. These essays combine a re-examination of the terms of judgement of contemporary art with critical interpretations of individual works and exhibitions by Luis Camnitzer, Marcel Duchamp, Matias Faldbakken, Anne Imhof and Cady Noland. The book moves from philosophical issues, via the lingering shadows of medium-specificity (in photography and art music), and the changing states of museums, to analyses of the peculiar ways that works of art relate to time.To give artistic form to crisis, it is suggested, one needs to understand contemporary art’s own constitutive crisis of form.
Tracking the postconceptual dimensions of contemporary art 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. Contemporary art makes this work more difficult than ever. Today’s art is a point of condensation for a vast array of social and historical forces, economic and political forms, and technologies of image production. Contemporary art, Osborne maintains, expresses this condition 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 a 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 Zaatari, Xavier Le Roy and Ilya Kabakov, and the postconceptual situation of a crisis-ridden New Music.
The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond What is the relation of art to the practice of radical politics today? Strike Art explores this question through the historical lens of Occupy, an event that had artists at its core. Precarious, indebted, and radicalized, artists redirected their creativity from servicing the artworld into an expanded field of organizing in order to construct of a new—if internally fraught—political imaginary set off against the common enemy of the 1%. In the process, they called the bluff of a contemporary art system torn between ideals of radical critique, on the one hand, and an increasing proximity to Wall Street on the other—oftentimes directly targeting major art institutions themselves as sites of action. Tracking the work of groups including MTL, Not an Alternative, the Illuminator, the Rolling Jubilee, and G.U.L.F, Strike Art shows how Occupy ushered in a new era of artistically-oriented direct action that continues to ramify far beyond the initial act of occupation itself into ongoing struggles surrounding labor, debt, and climate justice, concluding with a consideration of the overlaps between such work and the aesthetic practices of the Black Lives Matter movement. Art after Occupy, McKee suggests, contains great potentials of imagination and action for a renewed left project that are still only beginning to ripen, at once shaking up and taking flight from the art system as we know it.
