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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > General
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X
(Paperback)
Lieven De Boeck
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R676
Discovery Miles 6 760
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Ships in 10 - 15 working days
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Developed as an exploratory study of artworks by artists of
Singapore and Malaysia, Retrospective attempts to account for
contemporary artworks that engage with history. These are artworks
that reference past events or narratives, of the nation and its
art. Through the examination of a selection of artworks produced
between 1990 and 2012, Retrospective is both an attribution and an
analysis of a historiographical aesthetic within contemporary art
practice. It considers that, by their method and in their assembly,
these artworks perform more than a representation of a historical
past. Instead, they confront history and its production, laying
bare the nature and designs of the historical project via their
aesthetic project. Positing an interdisciplinary approach as
necessary for understanding the historiographical as aesthetic,
Retrospective considers not only historical and aesthetic
perspectives, but also the philosophical, by way of ontology, in
order to broaden its exposition beyond the convention of historical
and contextual interpretation of art. Yet, in associating these
artworks with a historiographical aesthetic, this exposition may be
regarded as a historiographical exercise in itself, affirming the
significance of these artworks for the history of Singapore and
Malaysia. In short, which history rarely is, Retrospective is about
the art of historicisation and the historicisation of art.
The Cultural History of the Avant-Garde in the Nordic Countries
Since 1975 is the final volume of the four-volume series of
cultural histories of the avant-garde movements in the Nordic
countries. This volume carries the avant-garde discussion forward
to present-day avant-gardes, challenged by the globalisation of the
entertainment industries and new interactive media such as the
internet. The avant-garde can now be considered a tradition that
has been made more widely available through the opening of
archives, electronic documentation and new research, which has
spurred both re-enactments, revisions and continuations of
historical avant-garde practices, while new cultural contexts,
political, technological and ecological conditions have called for
new strategies.
Rewrites our understanding of the last 50 years of Chicana/o
cultural production. Chicana/o Remix casts new light not only on
artists-such as Sandra de la Loza, Judy Baca, and David Botello,
among others-but on the exhibitions that feature their work, and
the collectors, curators, critics, and advocates who engage it.
Combining feminist theory, critical ethnic studies, art historical
analysis, and extensive archival and field research, Karen Mary
Davalos argues that narrow notions of identity, politics, and
aesthetics limit our ability to understand the full capacities of
Chicana/o art. She employs fresh vernacular concepts such as the
"errata exhibit," or the staging of exhibits that critically
question mainstream art museums, and the "remix," or the act of
bringing new narratives and forgotten histories from the background
and into the foreground. These concepts, which emerge out of art
practice itself, drive her analysis and reinforce the rejection of
familiar narratives that evaluate Chicana/o art in simplistic,
traditional terms, such as political versus commercial, or realist
versus conceptual. Throughout Chicana/o Remix, Davalos explores
undocumented or previously ignored information about artists, their
cultural production, and the exhibitions and collections that
feature their work. Each chapter exposes and challenges conventions
in art history and Chicana/o studies, documenting how Chicana
artists were the first to critically challenge exhibitions of
Chicana/o art, tracing the origins of the first Chicano arts
organizations, and highlighting the influence of Europe and Asia on
Chicana/o artists who traveled abroad. As a leading scholar in the
study of Chicana/o artists, art spaces, and exhibition practices,
Davalos presents her most ambitious project to date in this
re-examination of fifty years of Chicana/o art production.
While highlighting the prevailing role of television in Western
societies, Art vs. TV maps and condenses a comprehensive history of
the relationships of art and television. With a particular focus on
the link between reality and representation, Francesco Spampinato
analyzes video art works, installations, performances,
interventions and television programs made by contemporary artists
as forms of resistance to and appropriation and parody of
mainstream television. The artists discussed belong to different
generations: those that emerged in the 1960s in association with
art movements such as Pop Art, Fluxus and Happening; and those
appearing on the scene in the 1980s, whose work aimed at
deconstructing media representation in line with postmodernist
theories; to those arriving in the 2000s, an era in which, through
reality shows and the Internet, anybody could potentially become a
media personality; and finally those active in the 2010s, whose
work reflects on how old media like television has definitively
vaporized through the electronic highways of cyberspace. These
works and phenomena elicit a tension between art and television,
exposing an incongruence; an impossibility not only to converge but
at the very least to open up a dialogical exchange.
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