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Art After Appropriation - Essays on Art in the 1990s (Hardcover)
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Art After Appropriation - Essays on Art in the 1990s (Hardcover)
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Beginning with the first comprehensive account of the discourse of
appropriation that dominated the art world in the late 1970s and
1980s, Art After Appropriation suggests a matrix of inflections and
refusals around the culture of taking or citation, each chapter
loosely correlated with one year of the decade between 1989 and
1999. The opening chapters show how the Second World culture of the
USSR gave rise to a new visibility for photography during the
dissolution of the Soviet Union around 1989. Welchman examines how
genres of ethnography, documentary and travel are crossed with
fictive performance and social improvisation in the videos of Steve
Fagin. He discusses how hybrid forms of subjectivity are delivered
by a new critical narcissism, and how the Korean-American artist,
Cody Choi converts diffident gestures of appropriation from the
logic of material or stylistic annexation into continuous
incorporated events. Art After Appropriation also examines the
creation of public art from covert actions and social feedback, and
how bodies participate in their own appropriation. Art After
Appropriation concludes with the advent of the rainbow net, an
imaginary icon that governs the spaces of interactivity,
proliferation and media piracy at the end of the millennium. John
Welchman is Professor of Modern Art History, Theory and Criticism
at the University of California, San Diego. He is the author of
Modernism Relocated (1995) and Invisible Colors (1997); and editor
of Rethinking Borders (1996), and a forthcoming three-volume
anthology of the writings of LA artist MIke Kelley. Welchman has
contributed to numerous journals, magazines, museum catalogues and
newspapers, including Artforum; New York Times; Los Angeles Times;
International Herald Tribune; Los Angeles County Museum of Art;
Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia,
Madrid; Haus der Kunst, Munich
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