This book offers a compelling study of contemporary developments in European migration studies and the representation of migration in the arts and cultural institutions. It introduces scholars and students to the new concept of 'postmigration', offering a review of the origin of the concept (in Berlin) and how it has taken on a variety of meanings and works in different ways within different national, cultural and disciplinary contexts. The authors explore postmigrant theory in relation to the visual arts, theater, film and literature as well as the representation of migration and cultural diversity in cultural institutions, offering case studies of postmigrant analyses of contemporary works of art from Europe (mainly Denmark, Germany and Great Britain).

This book addresses a topic of increasing importance to artists, art historians and scholars of cultural studies, migration studies and international relations: migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art's critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The author explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, including the balancing of aesthetics, politics and ethics in representations of forced migration. -- .

Throughout his career Danish artist Thomas Bang (*1938) has focussed on various aspects of “fragility” and “vulnerability”, both as physical and psychological states. His new monograph is a survey of his sculptural practice, which he understands as an ongoing investigation into and a reflection on the ever-changing and provisional aspects of our human environment. Four multifaceted essays trace his formative years as a painter in the early 1960s, his subsequent development as a sculptor, his activities as part of the New York art scene since 1970, up to his most recent largescale installations and wall-mounted works.

This book offers a compelling study of contemporary developments in European migration studies and the representation of migration in the arts and cultural institutions. It introduces scholars and students to the new concept of 'postmigration', offering a review of the origin of the concept (in Berlin) and how it has taken on a variety of meanings and works in different ways within different national, cultural and disciplinary contexts. The authors explore postmigrant theory in relation to the visual arts, theater, film and literature as well as the representation of migration and cultural diversity in cultural institutions, offering case studies of postmigrant analyses of contemporary works of art from Europe (mainly Denmark, Germany and Great Britain).

This book addresses a topic of increasing importance to artists, art historians and scholars of cultural studies, migration studies and international relations: migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art's critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The author explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, including the balancing of aesthetics, politics and ethics in representations of forced migration. -- .

This book explores how installation art developed into an interdisciplinary genre in the 1960s, and how its special intertwinement of the visual and the performative has acted as a catalyst for the generation of new artistic phenomena. It investigates how it became one of today's most widely used art forms, increasingly expanding into consumer, popular and urban cultures, where the installations' often spectacular appearances ensure that they fit into contemporary demands for sense-provoking and immersive cultural experiences. Making an important contribution to the development of the critical and theoretical discourse on installation art, Ring Petersen addresses a series of basic questions: What is an installation? What techniques does it employ? How does installation art affect its viewers? How can we explain the rise of installation art in a cultural-historical perspective? Answers to these questions are pursued through analyses of installation art's spatial, temporal and discursive aspects as well as its reception aesthetics and cultural-historical contexts, and through analyses of a large number of works from a variety of sub-genres, including performance installations, video installations, installational exhibitions and recent use of installation in commercial contexts, including by artists such as Bruce Nauman, Olafur Eliasson, Mona Hatoum, Pipilotti Rist, Ilya Kabakov, Superflex, Thomas Hirschhorn, Carsten Hoeller, Terike Haapoja and ART + COM.

These essays examine the transformation and expansion of the field of painting over the last decades in relation to the more general lines of development in contemporary culture and visuality. They pose questions like: How do paintings present themselves to us today; how are they 'framed' experientially, institutionally and culturally? In which way can paintings of today be said to reflect and reflect on the historical transformations of culture, visuality and image production and consumption? Is it possible to explain some of the changes and extensions of the field of painting by placing it in the wider context of cultural history or visual culture studies? The book is divided into five parts, with each of them pursuing a distinct line of inquiry: 1. How to situate painting in a wider cultural context; 2. How to rethink the question of the ontology of painting; 3. How to define 'painting' today by taking into consideration that the discipline has assimilated a wealth of new means of expression and materials; 4. How to address the role of gender in painting; 5. How to address the complex relationship between painting, art institutions and the art market.