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Richard S. Field

Despite the obvious allusion to Sol LeWitt's 1969 ‘Sentences on Conceptual Art,’ the following does not privilege idea over execution. Quite the contrary, it is an attempt to equate the contradictory attitudes we hold toward prints and to explore the opposites I believe are encoded in printmaking. What I owe to LeWitt's art and prose, most

in Perspectives on contemporary printmaking
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Understanding the archival turn in contemporary art
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Art + archive: Understanding the archival turn in contemporary art examines the meaning and function of the notion of the archive in art writing and artistic practices c. 1995–2015. The book takes on one of the most persistent buzzwords in the international artworld, adding nuance and context to a much-discussed but under-analysed topic.

The study’s first part outlines key texts about archive art, the interdisciplinary theories these build on, and the specific meaning the archive comes to have when it is brought into the artworld. The second part examines the archive art phenomenon in relation to materiality, research, critique, curating and temporality. Instead of approaching the archive as an already defined conceptual tool for analysing art, the book rethinks the so-called archival turn, showing how the archive is used to point to, theorise and make sense of a number of different conditions and concerns deemed to be urgent and important at the turn of the twenty-first century. These include the far-reaching implications of technological changes; the prevalence of different forms of critique of normative structures; changes to the view of the art object; and the increasing academicisation of artistic practices. This book shows that the archive is adaptable and elastic, but that it is also loaded with a great deal of theoretical baggage. It clarifies why, how and with what consequences the archive is referenced and mobilised by contemporary artists and art writers.

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Clare Wilkinson
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Emma Weitkamp

Despite C.P. Snow’s framing of the arts and science as two cultures with little common ground, art, science and technology have long been bedfellows (Snow, 1993 ). Advances in science and technology have stimulated developments in the arts as well as acting as inspiration for cultural activities, and visual techniques from the arts have been used to inform and facilitate research across a broad range of disciplines. From Brunelleschi’s early work on perspective, through to the modern day, examples of cross ‘cultural’ impact abound, with artists exploring

in Creative research communication
Andrzej Bednarczyk

Reasons Today, we are discussing graphic art. Before we do that, we have to state clearly our motivations and aims, because the soundness of raising questions about graphic art is not obvious nowadays. Among opponents to this question, there are essentially three distinct positions. First of all, there are claims that

in Perspectives on contemporary printmaking
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Anna Dahlgren

Imposter art This chapter deals with artworks that have migrated from the context of the art world to those of the law and news, literally from the gallery to the courtroom and the pages of the daily press. Artworks that cross legal boundaries and are judged as illegal acts or objects are illuminating examples of how the notion of art is continuously negotiated by different agents in different contexts. This chapter seeks to discuss news media as one such agent and context. Historically, there have been many instances where the notion of art has been negotiated

in Travelling images
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Anna Dahlgren

3 Magazined art The relationship between art and fashion has never been clear cut, but has rather been characterized by a complex interrelationship mainly due to the latter’s ‘intermediate position between the artistic field and the economic field’.1 Throughout the history of fashion photography there has been an exchange of aesthetics between visual art and fashion imagery, as pointed out by Charlotte Andersen among others.2 Moreover, a number of photographers have managed to establish themselves as artists and fashion photographers simultaneously, such as

in Travelling images
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Allan Antliff

Over the course of the twentieth century and into the twenty-first, art’s relationship to economics has more and more frequently been subsumed within analyses of commerce in art, focusing on the interface between art critics, dealers, collectors, galleries, museums, and transactional economic valuations. In such treatments, aesthetics give way to market considerations, and the artwork’s social import is adjudicated accordingly. As theorist Thierry de Duve put it in his 1996 study Kant after Duchamp , in this

in Art and knowledge after 1900
Stuart Brisley’s cuts in time
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Stuart Brisley is a pioneering English multimedia and performance artist who developed performance as a form of social action in the 1960s and 1970s. This book assesses Brisley’s seminal influence on British art through a focus on his lifelong engagement with the histories and imaginaries of revolution. It links together key aspects of revolutionary history with material gathered from a critical dialogue established between the author and Brisley over many years. Viewing revolution as a rupture in time, this book uses the ‘trope’ of the French Revolution to investigate Brisley’s own engagement with the idea of revolution as an ongoing, potentially permanent, process. Brisley’s work thus becomes a fascinating stage for addressing the relations between art, politics and historical discourse today. This book shows how to value political art even when the idea of revolution has supposedly died or is no longer deemed possible. It also provides a new historical model for situating the ‘afterlives’ of performance art, demonstrating how they can used to reveal latent aspects of the past, including the historical experience of revolution.

The politics of trans/nationalism and global expositions

Staging art and Chineseness is about the politics of borders ascribed to Chinese contemporary art and the identification of artists by locations and exhibitions. The paradoxical subject of Chineseness is central to this inquiry, which begins with the question, what does the term Chinese Art mean in the aftermath of the globalized shift in art? Through an exploration of embodied and performative representations (including eco-feminist performances) by artists from China and diasporic locations, the case studies in this book put to the test the very premise of the genealogical inscription for cultural objects attributed to the residency, homeland, or citizenship of the Chinese artist. Acknowledging the orientalist assumptions and appropriations that Chineseness also signifies, this study connects the artistic performance to the greater historical scope of ‘geographical consciousness’ envisioned by past and present global expositions. The emergence of China’s shiyan meishu experimental art movement in the 1980s–1990s has largely been the defining focus for ‘global art’ during the period when artfairs, biennials, and triennials also came into prominence as the new globalized art institution (exemplified by China’s first biennial in Guangzhou). The political aim is to recognize the multiple contradictions and repetitions of history engendered by art, nationalism, and capital in the legacy of Althusserian/Maoist interpellations – the reifications of global capitalist illusions in the twenty-first century are conveyed in this book by performative artistic expressions and the temporal space of the exposition.

Contemporary Asian contexts
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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.