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The postsocialist contemporary joins a growing body of scholarship
debating the definition and nature of contemporary art. It comes to
these debates from a historicist perspective, taking as its point
of departure one particular art programme, initiated in Eastern
Europe by the Hungarian-American billionaire George Soros. First
implemented in Hungary, the Soros Center for Contemporary Art
(SCCA) expanded to another eighteen ex-socialist countries
throughout the 1990s. Its mission was to build a western 'open
society' by means of art. This book discusses how network managers
and artists participated in the construction of this new social
order by studying the programme's rise, evolution, impact and
broader ideological and political consequences. Rather than
recounting a history, its engages critically with 'contemporary
art' as the aesthetic paradigm of late-capitalist market democracy.
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The artistic tradition that emerged as a form of cultural
resistance in the 1970s changed during the transition from
socialism to capitalism. This volume presents the evolution of the
Moscow-based conceptual artist group called Collective Actions,
proposing it as a case-study for understanding the transformations
that took place in Eastern European art after the fall of the
Berlin Wall. Esanu introduces Moscow Conceptualism by performing a
close examination of the Collective Actions group's ten-volume
publication Journeys Outside the City and of the Dictionary of
Moscow Conceptualism. He analyzes above all the evolution of
Collective Actions through ten consecutive phases, discussing
changes that occur in each new volume of the Journeys. Compares the
part of the Journeys produced in the Soviet period with those
volumes assembled after the dissolution of the USSR. The concept of
"transition" and the activities of Soros Centers for Contemporary
Art are also analyzed.
This edited scholarly volume offers a perspective on the history of
the genre of the nude in the Middle East and includes contributions
written by scholars from several disciplines (art history, history,
anthropology). Each chapter provides a distinct perspective on the
early days of the fine arts genre of the nude, as its author
studies a particular aspect through analysis of artworks and
historical documents from the late nineteenth- and early
twentieth-centuries. The volume examines a rich body of
reproductions of both primary documents and of works of art made by
Lebanese, Egyptian, Syrian artists or of anonymous book
illustrations from the nineteenth century Ottoman erotic
literature.
This book addresses the art historical category of "contemporary
art" from a transregional perspective, but unlike other volumes of
its kind, it focuses in on non-Western instantiations of "the
contemporary." The book concerns itself with the historical
conditions in which a radically new mode of artistic production,
distribution, and consumption - called "contemporary art" - emerged
in some countries of Eastern Europe, the post-Soviet republics of
the USSR, India, Latin America, and the Middle East, following both
local and broader sociopolitical processes of modernization and
neoliberalization. Its main argument is that one cannot fully
engage with the idea of the "global contemporary" without also
paying careful attention to the particular, local, and/or national
symptoms of the contemporary condition. Part I is methodological
and theoretical in scope, while Part II is historical and
documentary. For the latter, a number of case studies address the
emergence of the category "contemporary art" in the context of
Lebanon, Egypt, India, Hungary, Slovenia, Croatia, Bosnia and
Herzegovina, Armenia, and Moldova. The book will be of interest to
scholars working in art history, globalism, cultural studies, and
postcolonial studies.
This edited scholarly volume offers a perspective on the history of
the genre of the nude in the Middle East and includes contributions
written by scholars from several disciplines (art history, history,
anthropology). Each chapter provides a distinct perspective on the
early days of the fine arts genre of the nude, as its author
studies a particular aspect through analysis of artworks and
historical documents from the late nineteenth- and early
twentieth-centuries. The volume examines a rich body of
reproductions of both primary documents and of works of art made by
Lebanese, Egyptian, Syrian artists or of anonymous book
illustrations from the nineteenth century Ottoman erotic
literature.
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