This book represents the first attempt to write a comprehensive account of performance art in Eastern Europe - the former communist, socialist and Soviet countries of Central, Eastern and Southeastern Europe - since the 1960s. It demonstrates performance art, which encompasses a range of genres, among them body art, happenings, actions and performance. In exploring the manifestations and meanings of performance art, the book highlights the diversity of artistic practice, moments and ways in which performance emerged, and its relationship to each country's sociopolitical climate. The book discusses 21 countries and over 250 artists, exploring the manner in which performance art developed concurrently with the genre in the West. It examines how artists used their bodies in performance to navigate the degrees of state control over artistic production and cultivate personalised forms of individual integration and self-expression of body, gender, politics, identity, and institutional critique. A comparative analysis of examples of performance art addressing gender-related issues from across the socialist and post-socialist East is then presented. The themes addressed provide local cultural and historical references in works concerning beauty, women's sexuality and traditional notions of gender. Artists' efforts to cope with the communist environment, the period of transition and the complexities of life in the post-communist era are highlighted. Artists during the communist period adopted performance art as a free-form, open-ended means of expression to give voice to concepts, relationships and actions that otherwise would not have been possible in the official realm of art.
The ecological eye aims to align the discipline of art history with
ecology, climate change, the Anthropocene and the range of politics and
theoretical positions that will help to ground such an approach. It looks both
backwards and forwards in order to promote the capacities of close attention,
vital materialism, nonhierarchy, care and political ecology. The book seeks to
place the history of art alongside its ecocritical colleagues in other
humanities disciplines. Three main directions are discussed: the diverse
histories of art history itself, for evidence of exemplary work already
available; the politics of social ecology, Marxist ecologies and anarchy,
showing its largely untapped relevance for work in art history and visual
culture; and finally, emerging work in posthumanism and new materialism, that
challenges unhelpful hierarchies across the human, animal, botanical and
geological spheres. The ecological eye concludes with an appeal to the
discipline to respond positively to the environmental justice movement.
Agostino Brunias's paintings have often been understood as straightforward documents of visual ethnography that functioned as field guides for reading race. This book offers the first comprehensive study of Agostino Brunias's intriguing pictures of colonial West Indians of colour made for colonial officials and plantocratic elites during the late-eighteenth century. It talks about the so called 'Red' and 'Black' Caribs, dark-skinned Africans and Afro-Creoles, and mixed-race women and men. The book explores the role of the artist's paintings in reifying notions of race in the British colonial Caribbean and considers how the images both reflected and refracted common ideas about race. Although some historians argue that the conclusion of the First Carib War actually amounted to a stalemate, Brunias clearly documents it as a moment of surrender, with Joseph Chatoyer considering the terms of his people's submission. Young's Account of the Black Charaibs mobilised subtle and not-so-subtle allusions to the rebellion in Haiti to construct a narrative of the Carib Wars. The book analyses the imaging of Africans and Afro-Creoles in British colonial art. The painting named Mulatresses and Negro Woman Bathing, Brunias replaces his more quotidian trade scenes and negro dancing frolics with a bathing tableau set against a sylvan Eden. In Linen Market, Dominica, one arresting figure captivates the viewer more than any other. Brunias may have painted for the plantocractic class, constructing pretty pictures of Caribbean life that reflected the vision of the islands upon which white, colonialist identities depended.
In the late 1960s and 1970s, women artists in the United States and Britain began to make texts and images of writing central to their visual compositions. This book explores the feminist stakes of that choice. It analyses how Adrian Piper, Nancy Spero, and Mary Kelly worked with the visual dimensions of language to transform how women are perceived. To illuminate the specific ways in which these artists and writers contribute to the production of a feminist imaginary, Part I charts the correspondences between the artwork of Piper and the writings of Davis. It analyses the artwork she created in the late 1960s and 1970s, when she began using text to create artwork that moves between what Piper identifies as 'the singular reality of the "other."' Davis's writing exposes the fictions animating projections that the black female body is perceived to be a malleable ground upon which fears and fantasies can take visual form. Part II focuses on aggression and traces how its repression plays out across Spero's Codex Artaud and Solanas's SCUM Manifesto. It argues that in Post-Partum Document, texts and pieces of writing become fetish objects that Kelly arranges into visual and linguistic 'poems' that forestall a confrontation with loss. Part III demonstrates that the maternal femininity thought to naturally inhere in woman is also restricted and muffled, quite efficiently repressing the possibility that women could address each other across maternal femininity's contested terrain.
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.
This book examines the impact of Civil Rights, Black Power, the student, feminist and sexual-liberty movements on conceptualism and its legacies in the United States between the late 1960s and the 1990s. It focuses on the turn to political reference in practices originally concerned with abstract ideas. The book traces key strategies in contemporary art to the reciprocal influences of conceptualism and identity politics. The central concept is a reversal of the qualitative assessment made by artist and theorist Joseph Kosuth in 1969. The book overviews the 1960s-1970s shift from disciplinary-based Conceptual Art to an interdisciplinary conceptualism, crediting the influence of contemporaneous politics dominated by identity and issue-based politics. It offers a survey of Adrian Piper's early work, her analytic conceptual investigations, and her transition to a synthetic mode of working with explicit political reference. The book explores how Conceptual Art is political art, analysing several works by synthetic proposition artists. It then surveys several key 1980s events and exhibitions before taking in depth the 1993 Whitney Biennial as its central case study for understanding the debates of the 1980s and the 1990s. Examining the ways in which Hans Haacke's work referenced political subject matter, simultaneously changing the conception of the processes and roles of art-making and art, the book argues against critics who regarded his work to be "about" politics. It also looks at the works of Charles Gaines, David Hammons, Renée Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, and Andrea Fraser.
Contemporary Asian art has had a remarkable impact on global art practice, and simultaneously has produced an enduring record of the history of that region from the moment of decolonisation to the present. Many artists in the region have a deep concern about what it means to be human and to contribute to the development of a better future for their communities as well as having a sustained commitment to making art. This book, written at the start of the ‘Asian century’, focuses on the contexts and conditions which have helped to shape both art practice, and postcolonial society, in the region. Using case studies of selected artists, it discusses their work in relation to issues of human rights, social and environmental wellbeing, and creativity and is one of the first surveys of these issues in contemporary Asian art. It is an important contribution to studies of contemporary Asian art and art history.
Migration, understood as the movement of people and cultures, gives impetus to globalisation and the transculturation processes that the interaction between people and cultures entails. This book addresses migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art's critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The book also explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, and its representations of forced migration. Transculturality indicates a certain quality (of an idea, an object, a self-perception or way of living) which joins a variety of elements indistinguishable as separate sources. The topic of migration is permeated not only with political but also with ethical urgencies. The most telling sign of how profoundly the mobility turn has affected the visual arts is perhaps the spread of the term global art in the discourses on art, where it is often used as a synonym for internationally circulating contemporary art. The book examines interventions by three artists who take a critical de- and postcolonial approach to the institutional structures and spaces of Western museums. The book also looks at the politics of representation, and particularly the question of how aesthetics, politics and ethics can be triangulated and balanced when artists seek to make visible the conditions of irregular migration.
This book proposes a new reading of contemporary art between 1958 and 2009 by sketching out a trajectory of ‘precarious’ art practices. Such practices risk being dismissed as ‘almost nothing’ because they look like trash about to be thrown out, because they present objects and events that are so commonplace as to be confused with our ordinary surroundings, or because they are fleeting gestures that vanish into the fabric of everyday life. What is the status of such fragile, nearly invisible, artworks? In what ways do they engage with the precarious modes of existence that have emerged and evolved in the socio-economic context of an increasingly globalised capitalism? Works discussed in this study range from Allan Kaprow’s assemblages and happenings, Fluxus event scores and Hélio Oiticica’s wearable Parangolé capes in the 1960s, to Thomas Hirschhorn’s sprawling environments and participatory projects, Francis Alÿs’s filmed performances and Gabriel Orozco’s objects and photographs in the 1990s. Significant similarities among these different practices will be drawn out, while crucial shifts will be outlined in the evolution of this trajectory from the early 1960s to the turn of the twenty-first century. This book will give students and amateurs of contemporary art and culture new insights into the radical specificities of these practices, by situating them within an original set of historical and critical issues. In particular, this study addresses essential questions such as the art object’s ‘dematerialisation’, relations between art and everyday life, including the three fields of work, labour and action first outlined by Hannah Arendt in 1958.
Beyond its simple valorisation as a symbol of knowledge and progress in
post-Enlightenment narratives, light was central to the visual politics and
imaginative geographies of empire. Empires of Light describes how imperial
designations of ‘cities of light’ and ‘hearts of darkness’ were consonant with
the dynamic material culture of light in the nineteenth-century
industrialisation of light (in homes, streets, theatres, etc.) and its
instrumentalisation through industries of representation. Empires of Light
studies the material effects of light as power through the drama of imperial
vision and its engagement with colonial India. It evaluates responses by the
celebrated Indian painter Ravi Varma (1848–1906) to claim the centrality of
light in imperial technologies of vision, not merely as an ideological effect
but as a material presence that produces spaces and inscribes bodies.