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Welcome to your reading list for Critical Perspectives. Here you will find the resources to support you throughout this module.
Aesthetics and Politics by No other country and no other period has produced a tradition of major aesthetic debate to compare with that which unfolded in German culture from the 1930s to the 1950s. In Aesthetics and Politics the key texts of the great Marxist controversies over literature and art during these years are assembled in a single volume. They do not form a disparate collection but a continuous, interlinked debate between thinkers who have become giants of twentieth-century intellectual history.
Call Number: 111.85 ADO
Publication Date: 2007
Artificial Hells by Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
Call Number: 709.0407 BIS
Publication Date: 2012
The Return of the Real by In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today. After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real--to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-gard, it concludes with an original reading of this contemporary situation--and what it portends for future practices of art and theory, culture and politics.
Call Number: 701.1809045 FOS
Publication Date: 1996
High Price: Art Betweem the Market and Celebrity Culture by Today, the art world is not dominated by a small group of insiders. According to Graw, the art economy has been transformed from a retail business into an industry that produces visuality and meaning. This book questions the assumption of a dichotomy between art and the market, as well as the notion that market value is equal to artistic value. While examining the intrinsic connection between artistic production and its market conditions, Graw also insists that art is a commodity unlike any other. High Price claims that art and the market have to escape each other precisely because they are so deeply entangled.
This book provides numerous examples to support the first claim of a massive growth in the defining role of the market and its players during the art boom, who also increasingly have a say in establishing artistic value. There is indeed much to suggest that in recent years, whether or not an artwork was considered relevant in artistic terms depended to a greater extent on its market value. But this market value still depends on a "symbolic value" for its ultimate legitimacy. Without symbolic value, no market value--this is the book's second claim. For if it is true that society has been changing since the 1970s from industrial capitalism into what Antonio Negri has called "cognitive capitalism," then under such conditions, increased importance would once more be accorded to the symbolic meaning of an artwork. The art world is by definition a knowledge society, even if the spell of commercial success has long held sway over it.
Isabelle Graw is Professor for Art Theory and Art History at Staatliche Hochschule f r Bildende K nste (St delschule), Frankfurt am Main, where she co-founded the Institute of Art Criticism. She is an art critic and co-founder of Texte zur Kunst in Berlin.
Call Number: 706.88 GRA
Publication Date: 2009
Theory in Contemporary Art Since 1985 by Updated and reorganized to offer the best collection ofstate-of-the-art readings on the role of critical theory incontemporary art, this second edition of Theory in ContemporaryArt since 1985 brings together scholarly essays, artists?statements, and art reproductions to capture the vibrancy anddissonance that define today?s art scene. Incorporates new and updated topics that have become central toart theory and practice over the past decade New and updated chapters cover such topics as: internationalbiennials, historicizing of the term ?contemporaryart?, aesthetics, art and politics, feminism and pornography,ecology and art, the Middle East and conflict studies, EasternEuropean art and politics, gender and war, and technology Features a thematic reconfiguration of sections and newintroductions to make readings user?friendly Extensively illustrated throughout with an expanded color-platesection New contributions to this edition include those by AlexanderAlberro, Claire Bishop, T.J. Demos, Anthony Downey, Liam Gillick,Marina Gr?iniæ, Mary Kelly, Chantal Mouffe, Beatriz Preciado,Jacques Ranciere, Blake Stimson, and Chin-Tao Wu.
Call Number: 709.045 KOC
Publication Date: 2012
Duty Free Art by What is the function of art in the era of digital globalization? How can one think of art institutions in an age defined by planetary civil war, growing inequality, and proprietary digital technology? The boundaries of such institutions have grown fuzzy. They extend from a region where the audience is pumped for tweets to a future of "neurocurating," in which paintings surveil their audience via facial recognition and eye tracking to assess their popularity and to scan for suspicious activity. In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world's most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.
Call Number: 709.05 STE
Publication Date: 2019
As Painting by This volume, which accompanies an exhibition of the same name at the Wexner Center for the Arts, offers thought-provoking perspectives on the evolution of painting in the United States and Europe since the mid-1960s. It illuminates the flexible boundaries of what can be seen or interpreted as painting and that medium's interrelationships with sculpture, photography, and installation, highlighting points of convergence and divergence.
Call Number: 759.06 ARM
Publication Date: 2001
Image - music - text by These essays, as selected and translated by Stephen Heath, are among the finest writings Barthes ever published on film and photography, and on the phenomena of sound and image. The classic pieces "Introduction to the Structural Analysis of Narrative" and "The Death of the Author" are also included.
Call Number: 801.95 BAR
Publication Date: 1977
Chronology by "Is it the intentionality described by phenomenology and the ambiguous flesh of the active viewer who enters the work of art and fully explores its most extreme possibilities that determine the limits of possible subjectivation? Or is it the work itself that defines the parameters of new potential forms of subjectivity, perhaps involving modes of awareness that dodge the framework of phenomenology? Such are the questions that constitute the ultimate horizon of this essay."--Daniel Birnbaum A philosophical essay on time, phenomenology and beyond, Daniel Birnbaum's Chronology was presented in frieze as a "compelling and sophisticated take on the common theme of Deleuzian immanence." Whereas many theoretical books littering the bookshops of art institutions are laudations of excess, Birnbaum's convictions presented in Chronology cut a way through the "caesuras of non-meaning and blankness into the thick web of sense." The works of artists such as Stan Douglas, Eija-Liisa Ahtila, Doug Aitken, Dominique Gonzalez-Foerster, Tacita Dean, Darren Almond, Tobias Rehberger, Pierre Huyghe, and Philippe Parreno are scrutinized as so many attempts to capture the very dialectic of time itself. As Brian Dillon writes in frieze, "Birnbaum's notion of an art of unpredictable becoming ... has its aporias too. A brief aside apropos Matthew Barney - to the effect that his art is all meaning, all of the time - is quite telling." Daniel Birnbaum is Director of the St delschule in Frankfurt am Main and Director of its Portikus gallery. He is also a member of the board of the Institut f r Sozialforschung. A contributing editor of Artforum, he is the author of numerous texts on art and philosophy.
Call Number: 701 BIR
Publication Date: 2005
New Dark Age by We live in times of increasing inscrutability. Our news feeds are filled with unverified, unverifiable speculation, much of it automatically generated by anonymous software. As a result, we no longer understand what is happening around us. Underlying all of these trends is a single idea- the belief that quantitative data can provide a coherent model of the world, and the efficacy of computable information to provide us with ways of acting within it. Yet the sheer volume of information available to us today reveals less than we hope. Rather, it heralds a new Dark Age- a world of ever-increasing incomprehension. In his brilliant new work, leading artist and writer James Bridle offers us a warning against the future in which the contemporary promise of a new technologically assisted Enlightenment may just deliver its opposite- an age of complex uncertainty, predictive algorithms, surveillance, and the hollowing out of empathy. Surveying the history of art, technology and information systems he reveals the dark clouds that gather over discussions of the digital sublime.
Call Number: 303.483 BRI
Publication Date: 2019
Formalism and Historicity by Essays spanning three decades by one of the most rigorous art thinkers of our time grapple with formal and historical paradigms in twentieth century art.These influential essays by the noted critic and art historian Benjamin Buchloh have had a significant impact on the theory and practice of art history. Written over the course of three decades and now collected in one volume, they trace a history of crucial artistic transitions, iterations, and paradigmatic shifts in the twentieth century, considering both the evolution and emergence of artistic forms and the specific historical moment in which they occurred. Buchloh's subject matter ranges through various moments in the history of twentieth-century American and European art, from the moment of the retour l'ordre of 1915 to developments in the Soviet Union in the 1920s to the beginnings of Conceptual art in the late 1960s to the appropriation artists of the 1980s. He discusses conflicts resulting from historical repetitions (such as the monochrome and collage/montage aesthetics in the 1910s, 1950s, and 1980s), the emergence of crucial neo-avantgarde typologies, and the resuscitation of obsolete genres (including the portrait and landscape, revived by 1980s photography). Although these essays are less monographic than those in Buchloh's earlier collection, Neo-Avantgarde and Culture Industry, two essays in this volume are devoted to Marcel Broodthaers, whose work remains central to Buchloh's theoretical concerns. Engaging with both formal and historical paradigms, Buchloh situates himself productively between the force fields of formal theory and historical narrative, embracing the discrepancies and contradictions between them and within individual artistic trajectories. Contents Formalism and Historicity (1977) . Marcel Broodthaers- Allegories of the Avant-Garde (1980) . Figures of Authority, Ciphers of Regression- Notes on the Return of Representation in European Painting (1981) . Allegorical Procedures- Appropriations and Montage in Contemporary Art (1982) . The Museum Fictions of Marcel Broodthaers (1983) . From Faktura to Factography (1984) . Readymade, Objet Trouve, Idee Re ue (1985) . The Primary Colors for the Second Time- A Paradigm Repetition of the Neo-Avantgarde (1986) . Cold War Constructivism (1986) . Conceptual Art 1962-1969- From the Aesthetics of Administration to the Critique of Institutions (1989) . Residual Resemblance- Three Notes on the Ends of Portraiture (1994) . Sculpture- Publicity and the Poverty of Experience (1996)
Call Number: 709.4 BUC
Publication Date: 2015
The Society of the Spectacle by Few works of political and cultural theory have been as enduringly provocative as Guy Debord's Society of the Spectacle. From its publication amid the social upheavals of the 1960s to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late twentieth century. Now finally available in a superb English translation approved by the author, Debord's text remains as crucial as ever for understanding the contemporary effects of power, which are increasingly inseparable from the new virtual worlds of our rapidly changing image / information culture. "In all that has happened in the last twenty years, the most important change lies in the very continuity of the spectacle. Quite simply, the spectacle's domination has succeeded in raising a whole generation moulded to its laws. The extraordinary new conditions in which this entire generation has lived constitute a comprehensive summary of all that, henceforth, the spectacle will forbid; and also all that it will permit."-- Guy Debord (1988)
Call Number: 302.01 DEB
Publication Date: 1995
Contemporary Art and Memory by Whether exploring the intimate recollections which make up the artist's own life history or questioning the way the gallery and museum present public memory, contemporary art, it would seem, is haunted by the past. "Contemporary Art and Memory" is the first accessible survey book to explore the subject of memory as it appears in its many guises in contemporary art. Looking at both personal and public memory, Gibbons explores art as autobiography, the memory as trace, the role of the archive, revisionist memory and postmemory, as well as the absence of memory in oblivion. Grounding her discussion in historical precedents, Gibbons explores the work of a wide range of international artists including Yinka Shonibare MBE, Doris Salcedo, Keith Piper, Jeremy Deller, Judy Chicago, Louise Bourgeois, Tracey Emin, Felix Gonzalez-Torres, Christian Boltanski, Janet Cardiff, Bill Fontana, Pierre Huyghe, Susan Hiller, Japanese photographer Miyako Ishiuchi and new media artist George Legrady."Contemporary Art and Memory" will be indispensable to all those concerned with the ways in which artists represent and remember the past.?????
Call Number: 709.04001 GIB
Publication Date: 2008
Postmodernism, or, the cultural logic of late capitalism by He seeks here to crystallize a definition of a term which has taken on so many meanings that it has virtually lost all historical significance. He presents an extensive discussion on the cultural landscape - both 'high' and 'low' of postmodernity, evaluating the political fortunes of the new term and surveying postmodern developments in a range of different fields from market ideology to architecture, from painting and instalment art to contemporary punk film, from video art and high literature to deconstruction.
Finally, Jameson revaluates the concept of postmodernism in light of postmodern critiques of totalization and historical narratives from the notion of decadence to the dynamics of small groups, from religious fundamentalism to hi-tech science fiction while touching on the nature of contemporary cultural critique and the possibilities of cognitive mapping in the present multinational world system. This provocative book will be fundamental to all future discussions of postmodernism.
Call Number: 306 JAM
Publication Date: 1999
Visual and Other Pleasures by A new edition of Laura Mulvey's groundbreaking collection of essays, originally published in 1989. In an extensive introduction to this second edition, Mulvey looks back at the historical and personal contexts for her famous article Visual Pleasure and Narrative Cinema , and reassesses her theories in the light of new technologies.
Call Number: 305.4 MUL
Publication Date: 2009
Useful Reference Texts
Art Since 1900: Modernism, Anti-Modernism, Postmodernism by Groundbreaking in both its content and its presentation, Art Since 1900 has been hailed as a landmark study in the history of art. Conceived by some of the most influential art historians of our time, this extraordinary book has now been revised, expanded and brought right up to date to include the latest developments in the study and practice of art.
With a clear year-by-year structure, the authors present 130 articles, each focusing on a crucial event - such as the creation of a seminal work, the publication of an important text, or the opening of a major exhibition - to tell the myriad stories of art from 1900 to the present. All the key turning-points and breakthroughs of modernism and postmodernism are explored in depth, as are the frequent antimodernist reactions that proposed alternative visions. This expanded edition includes a new introduction on the impact of globalization, as well as essays on the development of Synthetic Cubism, early avant-garde film, Brazilian modernism, postmodern architecture, Moscow conceptualism, queer art, South African photography, and the rise of the new museum of art.
Acclaimed as the definitive work on the subject, Art Since 1900 is essential reading for anyone seeking to understand the complexities of art in the modern age.
Call Number: 709.04 FOS
Publication Date: 2016
Art in Theory, 1900-2000 by This popular anthology of twentieth-century art theoretical texts has now been expanded to take account of new research, and to include significant contributions to art theory from the 1990s. New edition of this popular anthology of twentieth-century art-theoretical texts. Now updated to include the results of new research, together with significant contributions from the 1990s. Includes writings by critics, philosophers, politicians and literary figures. The editors provide contextual introductions to 340 texts. Complements Art in Theory 1648-1815 and Art in Theory 1815-1900 to create a complete survey of the theories underpinning the development of art in the modern period.
Call Number: 701. HAR
Publication Date: 2002
Visual Methodologies by Now in its Fourth Edition, Visual Methodologies: An Introduction to Researching with Visual Materials is a bestselling critical guide to the study and analysis of visual culture. Existing chapters have been fully updated to offer a rigorous examination and demonstration of an individual methodology in a clear and structured style. Reflecting changes in the way society consumes and creates its visual content, new features include: Brand new chapters dealing with social media platforms, the development of digital methods and the modern circulation and audiencing of research images More ′Focus′ features covering interactive documentaries, digital story-telling and participant mapping A Companion Website featuring links to useful further resources relating to each chapter. A now classic text, Visual Methodologies appeals to undergraduates, graduates, researchers and academics across the social sciences and humanities who are looking to get to grips with the complex debates and ideas in visual analysis and interpretation.
Call Number: 707.2 ROS
Publication Date: 2016
How to Write about Contemporary Art by How to Write About Contemporary Art is the definitive guide to writing engagingly about the art of our time. Invaluable for students, arts professionals and other aspiring writers, the book first navigates readers through the key elements of style and content, from the aims and structure of a piece to its tone and language. Brimming with practical tips that range across the complete spectrum of art-writing, the second part of the book is organized around its specific forms, including academic essays; press releases and news articles; texts for auction and exhibition catalogues, gallery guides and wall labels; op-ed journalism and exhibition reviews; and writing for websites and blogs.In counseling the reader against common pitfalls--such as jargon and poor structure--Gilda Williams points instead to the power of close looking and research, showing how to deploy language effectively; how to develop new ideas; and how to construct compelling texts. More than 30 illustrations throughout support closely analysed case studies of the best writing, in Source Texts by 64 authors, including Claire Bishop, Thomas Crow, T.J. Demos, Okwui Enwezor, Dave Hickey, John Kelsey, Chris Kraus, Rosalind Krauss, Stuart Morgan, Hito Steyerl, and Adam Szymczyk.Supplemented by a general bibliography, advice on the use and misuse of grammar, and tips on how to construct your own contemporary art library, How to Write About Contemporary Art is the essential handbook for all those interested in communicating about the art of today.
Call Number: 707.2 WIL
Publication Date: 2014
All images included in this guide are available from Flickr through Creative Commons licensing CC-BY-2.0