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Contemporary Art and Digital Culture analyses the impact of the
internet and digital technologies upon art today. Art over the last
fifteen years has been deeply inflected by the rise of the internet
as a mass cultural and socio-political medium, while also
responding to urgent economic and political events, from the
financial crisis of 2008 to the ongoing conflicts in the Middle
East. This book looks at how contemporary art addresses digitality,
circulation, privacy, and globalisation, and suggests how feminism
and gender binaries have been shifted by new mediations of
identity. It situates current artistic practice both in canonical
art history and in technological predecessors such as cybernetics
and net.art, and takes stock of how the art-world infrastructure
has reacted to the internet's promises of democratisation. An
invaluable resource for undergraduate and postgraduate students of
contemporary art - especially those studying history of art and art
practice and theory - as well as those working in film, media,
curation, or art education. Melissa Gronlund is a writer and
lecturer on contemporary art, specialising in the moving image.
From 2007-2015, she was co-editor of the journal Afterall, and her
writing has appeared there and in Artforum, e-flux journal, frieze,
the NewYorker.com, and many other places.
Contemporary Art and Digital Culture analyses the impact of the
internet and digital technologies upon art today. Art over the last
fifteen years has been deeply inflected by the rise of the internet
as a mass cultural and socio-political medium, while also
responding to urgent economic and political events, from the
financial crisis of 2008 to the ongoing conflicts in the Middle
East. This book looks at how contemporary art addresses digitality,
circulation, privacy, and globalisation, and suggests how feminism
and gender binaries have been shifted by new mediations of
identity. It situates current artistic practice both in canonical
art history and in technological predecessors such as cybernetics
and net.art, and takes stock of how the art-world infrastructure
has reacted to the internet's promises of democratisation. An
invaluable resource for undergraduate and postgraduate students of
contemporary art - especially those studying history of art and art
practice and theory - as well as those working in film, media,
curation, or art education. Melissa Gronlund is a writer and
lecturer on contemporary art, specialising in the moving image.
From 2007-2015, she was co-editor of the journal Afterall, and her
writing has appeared there and in Artforum, e-flux journal, frieze,
the NewYorker.com, and many other places.
"Afterall" is a journal of art, context, and inquiry that not only
offers in-depth consideration of contemporary art from around the
world, but also insightful contextualization of works from a
diverse array of artists. Articles on art history and critical
theory further serve this goal and round out each issue. Scholarly,
but never pedantic, "Afterall" appeals not only to the academic
interested in rigorous dialogue about art, but also to any general
reader who is concerned with the situation of art and artists in
our world. "Issue 27" examines mapping and dissemination in the art
world and beyond. Featured artists include Andrea Zittel, Jef Geys,
Minerva Cuevas, and the publishing and printing collective Dexter
Sinister, while contextual essays look at Phil Collins' new film,
"Marxisme"; French feminist video collectives of the 1970s; and
Suzanne Lacy's influential book "Mapping the Terrain: New Genre
Public Art".
"Afterall", a journal of art, context and enquiry, offers in-depth
considerations of the work of contemporary artists along with
essays that broaden our understanding of it. "Issue 28" maps a
history of objects, photography, and experience. The articles
include Brazilian artist Ricardo Basbaum writing about the move to
activate the audience in contemporary art, Pablo Lafuente
dissecting the role of the object in participatory practices, an
exploration of Emily Wardill's elusive films of objects and
ossified social relations, a look at the photographic and
sculptural practice of Jean-Luc Moulene, and discussions of the
work of 1970s Chicago collective "AfriCOBRA" and the return of
modernism in the work of Carol Bove, Mathias Poledna, and others.
"Issue 29" looks at the artistic economy and the different means
that artists have of approaching the economy as opposed to the
market. Essays include examinations of Eugenio Dittborn's
channelling of modes of distribution; Moyra Davey's investigations
into value; Dierck Schmidt's political and economic histories; R.
Kelly's hip-hopera, "Trapped in the Closet"; and the Chinese
exhibition "This Useful Life".
Since its launch in 1999, "Afterall", a journal of art, context,
and enquiry, has offered in-depth considerations of the work of
contemporary artists, along with essays that broaden the context in
which to understand it. Published three times a year, "Afterall"
also features essays on art history and critical theory. "Issue 31"
looks at artists working with or influenced by migration and
cultural politics. Among the artists featured are Lukas
Duwenhogger, Paul Chan, Pauline Boudry/Renate Lorenz, Ivan Kozaric,
Sven Augustijnen, Almgul Menlibayeva, and Slavs and Tatars, all of
whose work focuses on or traverses different art centers and
peripheries. Cultural theorist Vassilis Tsianos contributes an
essay looking at European migration in relation to the eurozone
crisis. "Issue 32" looks at pictorialism today and its role as an
artistic strategy. Artists featured are James Welling, Pae White,
Simryn Gill, Ahlam Shibli, David Claerbout, and Saloua Raouda
Chocair. Artist Trevor Paglen contributes an essay on image making
as a form of communication, while film theorist Maxa Zoller writes
about the haptic, or, what is excluded by a too-tight focus on
visuality.
Featuring the work of Lene Berg, Lucy McKenzie, Mary Ellen Carroll,
Haegue Yang, and Lili Dujourie, Issue 34 examines artistic
practices that address notions of cultural tradition while defying
essentialist definitions of identity. Issue 35 looks at
contemporary art's engagement with history through the work of
Teatro de Vertigem, Tony Chakar, Olga Chernysheva, and Danh Vo.
Since its launch in 1999, "Afterall", a journal of art, context,
and enquiry, has offered in-depth considerations of the work of
contemporary artists, along with essays that broaden the context in
which to understand it. Published three times a year, "Afterall"
also features essays on art history and critical theory. "Issue 31"
looks at artists working with or influenced by migration and
cultural politics. Among the artists featured are Lukas
Duwenhogger, Paul Chan, Pauline Boudry/Renate Lorenz, Ivan Kozaric,
Sven Augustijnen, Almgul Menlibayeva, and Slavs and Tatars, all of
whose work focuses on or traverses different art centers and
peripheries. Cultural theorist Vassilis Tsianos contributes an
essay looking at European migration in relation to the eurozone
crisis. "Issue 32" looks at pictorialism today and its role as an
artistic strategy. Artists featured are James Welling, Pae White,
Simryn Gill, Ahlam Shibli, David Claerbout, and Saloua Raouda
Chocair. Artist Trevor Paglen contributes an essay on image making
as a form of communication, while film theorist Maxa Zoller writes
about the haptic, or, what is excluded by a too-tight focus on
visuality.
Since its launch in 1999, Afterall, a journal of art, context, and
inquiry, has offered in-depth considerations of the work of
contemporary artists, along with essays that broaden the context in
which to understand it. Published three times a year, Afterall also
features essays on art history and critical theory. Issue 33 looks
at the current interest in performance and gesture amongst
contemporary artists working across a range of media. Artists
featured include Mark Leckey, Xavier Le Roy, Josef Dabernig, and
Simryn Gill. Accompanying essays consider lecture-performances as
an emerging art form, the ubiquitous presence of television sets
and serials in recent exhibitions, and the reperformance of
historical works by a younger generation of artists.
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