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This important new book examines contemporary art while
foregrounding the key role feminism has played in enabling current
modes of artmaking, spectatorship and theoretical discourse.
Contemporary Art and Feminism carefully outlines the links between
feminist theory and practice of the past four decades of
contemporary art and offers a radical re-reading of the
contemporary movement. Rather than focus on filling in the gaps of
accepted histories by 'adding' the 'missing' female, queer, First
Nations and women artists of colour, the authors seek to revise
broader understandings of contemporary practice by providing case
studies contextualised in a robust art historical and theoretical
basis. Readers are encouraged to see where art ideas come from and
evaluate past and present art strategies. What strategies,
materials or tropes are less relevant in today's networked,
event-driven art economies? What strategies and themes should we
keep hold of, or develop in new ways? This is a significant and
innovative intervention that is ideal for students in courses on
contemporary art within fine arts, visual studies, history of art,
gender studies and queer studies.
When the body is foregrounded in artwork - as in much contemporary
performance, sculptural installation and video work - so is
gendered and sexualised difference. Feminist Perspectives on Art:
Contemporary Outtakes looks to interactions between art history,
theory, curation, and studio-based practices to theorise the
phenomenological import of this embodied gender difference in
contemporary art. The essays in this collection are rooted in a
wide variety of disciplines, including art-making, curating, and
art history and criticism, with many of the authors combining roles
of curator, artist and writer. This interdisciplinary approach
enables the book to bridge the theory-practice divide and highlight
new perspectives emerging from creative arts research. Fresh
insights are offered on feminist aesthetics, women's embodied
experience, curatorial and art historical method, art world equity,
and intersectional concerns. It engages with epistemological
assertions of 'how the body feels', how the land has creative
agency in Indigenous art, and how the use of emotional or affective
registers may form one's curatorial method. This anthology
represents a significant contribution to a broader resurgence of
feminist thought, methodology, and action in contemporary art,
particularly in creative practice research. It will be of
particular value to students and researchers in art history, visual
culture, cultural studies, and gender studies, in addition to
museum and gallery professionals specialising in contemporary art.
This unique book proposes a re-reading of the relationship between
artists and the contemporary museum. In Australia in particular,
the museum has played a significant role in the colonial project
and this has generally been considered as the predominant mode of
artists' engagement with such institutions and collections.
Australian Artists in the Contemporary Museum expands the
post-colonial frame of reference used to interpret this work, to
demonstrate the broader implications of the relationship between
artists and the museum, and thus to offer an alternative way of
understanding recent contemporary practices. The authors' central
argument is that artists' engagement with the museum has shifted
from politically motivated critique taking place in museums of fine
art, towards interventions taking place in non-art museums that
focus on the creation of knowledge more broadly. Such interventions
assume a number of forms, including the artist acting as curator,
art works that highlight the use of taxonomic modes of display and
categorization, and the re-consideration of the aesthetics of
collections to suggest different ways of interpreting objects and
their history. Central to these interventions is the challenge to
better connect the museum and its public. The book will be
essential reading for scholars, professionals and students in the
fields of contemporary art and museum studies, art history, and in
the museum sector. These include artists, curators, museum and
gallery professionals, postgraduate researchers, art historians,
designers and design scholars, art and museum educators, and
students of visual art, art history, and museum studies. This
project has been assisted by the Australian government through the
Australia Council for the Arts, its arts funding and advisory body.
What would it mean to substitute care for economics as the central
concern of politics? This anthology invites analysis, reflections
and speculations on how contemporary artists and creative
practitioners engage with, interpret, and enact care in practices
which might forge an alternative ethics in the age of
neoliberalism. Interdisciplinary and innovative, it brings together
contributions from artists, researchers and practitioners who
creatively consider how care can be practised in a range of
contexts, including environmental ethics, progressive pedagogies,
cultures of work, alternative economic models, death literacy
advocacy, parenting and mothering, deep listening, mental health,
disability and craftivism. Care Ethics and Art contributes new
modes of understanding these fields, together with practical
solutions and models of practice, while also offering new ways to
think about recent contemporary art and its social function. The
book will benefit scholars and postgraduate research students in
the fields of art, art history and theory, visual cultures,
philosophy and gender studies, as well as creative and arts
practitioners.
This important new book examines contemporary art while
foregrounding the key role feminism has played in enabling current
modes of artmaking, spectatorship and theoretical discourse.
Contemporary Art and Feminism carefully outlines the links between
feminist theory and practice of the past four decades of
contemporary art and offers a radical re-reading of the
contemporary movement. Rather than focus on filling in the gaps of
accepted histories by 'adding' the 'missing' female, queer, First
Nations and women artists of colour, the authors seek to revise
broader understandings of contemporary practice by providing case
studies contextualised in a robust art historical and theoretical
basis. Readers are encouraged to see where art ideas come from and
evaluate past and present art strategies. What strategies,
materials or tropes are less relevant in today's networked,
event-driven art economies? What strategies and themes should we
keep hold of, or develop in new ways? This is a significant and
innovative intervention that is ideal for students in courses on
contemporary art within fine arts, visual studies, history of art,
gender studies and queer studies.
Nominated for the 2016 Art in Literature: Mary Lynn Kotz Award,
Library of Virginia Owing to digitization, globalization and mass
culture, what is deemed 'desirable' and 'of the moment' in art has
increasingly followed the patterns of fashion. While in the past
artistic styles were always inflected with signs of their
modernity, today biennales and art markets are defined by the next
big thing, the next sensation, the next new idea. But how do
opinions of what is 'good', 'progressive' and 'cutting edge' guide
styles? What is it that makes works of art fashionable and
commercial? Fashionable Art critically explores the relationships
between art, commerce, taste and cultural value. Each chapter
covers a major style or movement, from Chinese and Aboriginal art,
Cubism and Pop Art to alternative identity and outsider art,
exploring how contemporary art has been shaped since the 1970s.
Drawing upon a variety of theoretical frameworks, from Adorno and
Bourdieu to Simmel and Zizek, expert visual cultural scholars Geczy
and Millner engage with both historical and contemporary debates on
this lively topic. Taking a complex view of the meaning of fashion
as it relates to art, while also offering critiques of 'art as
fashion', Fashionable Art is an original, key text that will be
essential reading for students and scholars of art history, fashion
studies and material culture.
Nominated for the 2016 Art in Literature: Mary Lynn Kotz Award,
Library of Virginia Owing to digitization, globalization and mass
culture, what is deemed 'desirable' and 'of the moment' in art has
increasingly followed the patterns of fashion. While in the past
artistic styles were always inflected with signs of their
modernity, today biennales and art markets are defined by the next
big thing, the next sensation, the next new idea. But how do
opinions of what is 'good', 'progressive' and 'cutting edge' guide
styles? What is it that makes works of art fashionable and
commercial? Fashionable Art critically explores the relationships
between art, commerce, taste and cultural value. Each chapter
covers a major style or movement, from Chinese and Aboriginal art,
Cubism and Pop Art to alternative identity and outsider art,
exploring how contemporary art has been shaped since the 1970s.
Drawing upon a variety of theoretical frameworks, from Adorno and
Bourdieu to Simmel and Zizek, expert visual cultural scholars Geczy
and Millner engage with both historical and contemporary debates on
this lively topic. Taking a complex view of the meaning of fashion
as it relates to art, while also offering critiques of 'art as
fashion', Fashionable Art is an original, key text that will be
essential reading for students and scholars of art history, fashion
studies and material culture.
When the body is foregrounded in artwork - as in much contemporary
performance, sculptural installation and video work - so is
gendered and sexualised difference. Feminist Perspectives on Art:
Contemporary Outtakes looks to interactions between art history,
theory, curation, and studio-based practices to theorise the
phenomenological import of this embodied gender difference in
contemporary art. The essays in this collection are rooted in a
wide variety of disciplines, including art-making, curating, and
art history and criticism, with many of the authors combining roles
of curator, artist and writer. This interdisciplinary approach
enables the book to bridge the theory-practice divide and highlight
new perspectives emerging from creative arts research. Fresh
insights are offered on feminist aesthetics, women's embodied
experience, curatorial and art historical method, art world equity,
and intersectional concerns. It engages with epistemological
assertions of 'how the body feels', how the land has creative
agency in Indigenous art, and how the use of emotional or affective
registers may form one's curatorial method. This anthology
represents a significant contribution to a broader resurgence of
feminist thought, methodology, and action in contemporary art,
particularly in creative practice research. It will be of
particular value to students and researchers in art history, visual
culture, cultural studies, and gender studies, in addition to
museum and gallery professionals specialising in contemporary art.
This unique book proposes a re-reading of the relationship between
artists and the contemporary museum. In Australia in particular,
the museum has played a significant role in the colonial project
and this has generally been considered as the predominant mode of
artists' engagement with such institutions and collections.
Australian Artists in the Contemporary Museum expands the
post-colonial frame of reference used to interpret this work, to
demonstrate the broader implications of the relationship between
artists and the museum, and thus to offer an alternative way of
understanding recent contemporary practices. The authors' central
argument is that artists' engagement with the museum has shifted
from politically motivated critique taking place in museums of fine
art, towards interventions taking place in non-art museums that
focus on the creation of knowledge more broadly. Such interventions
assume a number of forms, including the artist acting as curator,
art works that highlight the use of taxonomic modes of display and
categorization, and the re-consideration of the aesthetics of
collections to suggest different ways of interpreting objects and
their history. Central to these interventions is the challenge to
better connect the museum and its public. The book will be
essential reading for scholars, professionals and students in the
fields of contemporary art and museum studies, art history, and in
the museum sector. These include artists, curators, museum and
gallery professionals, postgraduate researchers, art historians,
designers and design scholars, art and museum educators, and
students of visual art, art history, and museum studies. This
project has been assisted by the Australian government through the
Australia Council for the Arts, its arts funding and advisory body.
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