David Joselit

Хал Фостер

Росалинд Е. Краусс

Иве-Алайн Бойс

Б. Х. Д. Бухлох

модернизм, антимодернизм, постмодернизм

Искусство с 1900 года

American Art Since 1945

Art as we know it is dramatically changing, but popular and critical responses lag behind. In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house. Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.

After Art

Susan H. Haubenstock

This career guide designed for people looking to get into an art-related field outlines over eighty jobs and discusses salaries and job opportunities

Career Opportunities in Art

Samuel Beckett

Elias Canetti

Renata Salecl

Joan Simon

Jenny Holzer

A comprehensive look at the American artist's famous text works.

Robert Mapplethorpe

Kay Larson

Janet Kardon

The Perfect Moment

Hal Foster

Rosalind Krauss

Yve-Alain Bois

Benjamin H. D. Buchloh

Five of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth and twenty-first centuries

Volume 1: 1900 to 1944; Volume 2: 1945 to the Present

Art Since 1900

In a world where politics is conducted through images, the tools of art history can be used to challenge the privatized antidemocratic sphere of American television. American television embodies a paradox: it is a privately owned and operated public communications network that most citizens are unable to participate in except as passive specators. Television creates an image of community while preventing the formation of actual social ties because behind its simulated exchange of opinions lies a highly centralized corporate structure that is profoundly antidemocratic. In Feedback, David Joselit describes the privatized public sphere of television and recounts the tactics developed by artists and media activists in the 1960s and 1970s to break open its closed circuit. The figures whose work Joselit examines--among them Nam June Paik, Dan Graham, Joan Jonas, Abbie Hoffman, Andy Warhol, and Melvin Van Peebles--staged political interventions within television's closed circuit. Joselit identifies three kinds of image-events: feedback, which can be both disabling noise and rational response--as when Abbie Hoffman hijacked television time for the Yippies with flamboyant stunts directed to the media; the image-virus, which proliferates parasitically, invading, transforming, and even blocking systems--as in Nam June Paik's synthesized videotapes and installations; and the avatar, a quasi-fictional form of identity available to anyone, which can function as a political actor--as in Melvin Van Peebles's invention of Sweet Sweetback, an African-American hero who appealed to a broad audience and influenced styles of Black Power activism. These strategies, writes Joselit, remain valuable today in a world where the overlapping information circuits of television and the Internet offer different opportunities for democratic participation. In Feedback, Joselit analyzes such midcentury image-events using the procedures and categories of art history. The trope of figure/ground reversal, for instance, is used to assess acts of representation in a variety of media--including the medium of politics. In a televisual world, Joselit argues, where democracy is conducted through images, art history has the capacity to become a political science.

Television Against Democracy

Feedback

Mckenzie Wark

Super Vision' explores the ecstatic and the threatening aspects of contemporary visual experience. Here, a selection of important works in a variety of media expresses both aspects of vision and reveals visual experience as a source of both pleasure and fear.

Institute of Contemporary Art/Boston

Super Vision

Alaina Claire Feldman

Karin Schneider

Pamela M. Lee

Aimé Iglesias Lukin

Dessane Lopez Cassell

Ei Arakawa

Aura Rosenberg

Nicolás Guagnini: Theatre of the Self is a hybrid catalogue-reader based on the exhibition of the multi-threaded performances of Buenos Aires-born New York-based Guagnini. Many of these works, spanning from 2005 until 2019, have never been seen before or have not been seen since their original live presentation. Raised in Argentina during the "Dirty War" and violent military dictatorship, Guagnini moved to New York in the late 1990s and co-founded the film production company Union Gaucha Productions with Karin Schneider in 1997. In 2005 Guagnini became co-founder of Orchard Gallery, an artist cooperative based on the Lower East Side. The work in Theatre of the Self is informed in part by autobiography, history, politics and through Guagnini's community itself. Some performances were participatory, some were not. But all were made polyvocaly in collaboration with a group of artists with shared interests and concerns around performance and the moving image including Ei Arakawa, Leigh Ledare, Jeff Preiss, Aura Rosenberg, Karin Schneider among others.This publication invites internationally acclaimed art historians, curators and artists to think about the material in Guagnini's work within a unique format. Readers of the publication will be interested in contemporary art, film, political science, performance studies, and Latin American studies.

Nicolás Guagnini: Theatre of the Self

Elisabeth Sussman

"The work of the sculptor Rachel Harrison is both the zeitgeist and the least digestible in contemporary art. It may also be the most important, owing to an originality that breaks a prevalent spell in an art world of recycled genres, styles, and ideas."--Peter Schjeldahl, The New Yorker In her sculptures, room-sized installations, drawings, photographs, and artist's books, Rachel Harrison (b. 1966) delves into themes of celebrity culture, pop psychology, history, and politics. This publication, created in close collaboration with the artist, explores twenty-five years of her practice and is the first comprehensive monograph on Harrison in nearly a decade. Its centerpiece is an in-depth plate section, which doubles as a chronology of Harrison's major works, series, and exhibitions. Objects are illustrated with multiple views and details, and accompanied by short texts. This thorough approach elucidates Harrison's complicated, eclectic oeuvre--in which she integrates found materials with handmade sculptural elements, upends traditions of museum display, and injects quotidian objects with a sense of strangeness. Six accompanying essays cover Harrison's earliest works to her most recent output. The book also includes a handful of photo-collages that the artist created specifically for this project. Published here for the first time, these pieces superimpose found images with reproductions of Harrison's own past work.

Rachel Harrison Life Hack

An examination of the multiple identities and practices of Marcel Duchamp's life and art between 1910 and 1941 takes into account underacknowledged works and focuses on the conjunction of the machine and the commodity in the artist's art, and various forms of measurement, inscription, and quantification. Reprint.

Marcel Duchamp, 1910-1941

Infinite Regress

B. H. D. Buchloh

1945 to the Present

Benjamin H D Buchloh

1900 to 1944

"Heritage and Debt is a comparative study of global contemporary art that addresses artworks from around the world without falling into a survey of successive regions as most art-historical accounts of globalization do. It demonstrates that art's globalization has the capacity to redress Western modernism's historical responsibility for the cultural dispossession of the Global South. Both imperialism and slavery--two primary means of capital accumulation in the 19th century-asserted the cultural inferiority of non-Western cultures as justification for appropriating their land, labor, and the personal freedom of their peoples. While non-Western art was denigrated and suppressed in its places of origin, it was nevertheless appropriated by European modernism in the subordinate position of "primitivism" or "exoticism," or collected as defunct anthropological relics in encyclopedic or natural history museums in the European or American metropolis. Global contemporary art confronts this history of dispossession in its reanimation of cultural heritage as a contemporary resource. Since the 1980s artists from around the world have reclaimed local traditions to challenge the predominance of Euro-American contemporary art. Likewise, under global conditions, the development of heritage, which I define as any inherited cultural tradition in any region of the world, whether ancient or modern, has become an effective, even a necessary resource for localities in competing for investment, tourist dollars, and also indirectly, diplomatic or soft power. Heritage is thus both a symbolic and an economic asset, as indicated by the worldwide proliferation of new museums, often devoted to modern and contemporary art. Inspired by postcolonial thinkers and new directions in anthropology, Heritage and Debt argues that in global contemporary art, tradition-or heritage-has become a dynamic source of modern and contemporary aesthetic expressions in the Global South. Heritage and Debt will serve as a valuable resource in defining the burgeoning field of global contemporary art. The fact that the book's arguments are deeply grounded in the work of critics and historians from Africa, India, Latin America, Australia, and Asia should make Heritage and Debt relevant in many locations, as will its fundamentally comparative structure"--

Art in Globalization

Heritage and Debt

David Joselit

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