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 presents a study that undertakes an examination of participatory practices in contemporary theatre, performance and the visual arts, setting these against the broader social and political horizons of civic participation. It reconsiders the status of participation, with particular emphasis on participatory art both beyond a judgement of its social qualities as well as the confines of format and devising. The book attempts a cross-disciplinary discussion of participation, bringing together examples from the field of applied and community theatre, performance art and participatory visual arts. Gestures of participation in performance indicate possibilities for reconfiguring civic participation in public spaces in unexpected ways. Thus, less emphasis is laid on direct opposition and instead seeking a variety of modes of resisting co-optation, through unsolicited, vicarious or delicate gestures of participation. The book examines the question of institutional critique in relation to participatory art. It moves on to address the relationship between participatory art and the concept of 'impact'. A close examination of one workshop setting using the methodological framework of the 'theatre of the oppressed' in the context of a political party-led initiative follows. The book follows two conceptually inspired performance projects Where We Are Not? and If I Could Take Your Place? Finally, it emphasizes on how common-sense assumptions around audience participation in theatre and performance theory are called into question by the artwork's foregrounding of sleep as a mode of participation.
British art cinema: Creativity, experimentation and innovation brings together a selection of essays from both new and established scholars that engage with how far artistic creativity, entertainment and commerce have informed a conceptual British ‘arthouse’ cinema. The chapters show that rather than always sitting in the shadow of its European counterparts, for example, British cinema has often produced films and film-makers that explore intellectual ideas, and embrace experiment and innovation. The book examines the complex nature of state-funded and independent British filmmaking, the relationship between the modernist movement and British cinema, and the relationship between British cinema, Hollywood and US popular culture. The chapters cover the history of British cinema from the silent period to the 2010s. Film-makers explored in detail include Alfred Hitchcock, Michael Powell and Emeric Pressburger, Derek Jarman, Ken Russell, Horace Ové, Joseph Losey, John Krish, Humphrey Jennings, Nicolas Roeg, and lesser-known artists such as Enrico Cocozza and Sarah Turner. There are new essays on the British New Wave, the 1980s, poetic realism and social realism, the producer Don Boyd, the Black Audio Film Collective, films about Shakespeare, and the work of the Arts Council in the aftermath of World War Two.
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.
Worldmaking in art
As the previous chapters suggest, individuals and nations bring the past with
them into the present. This chapter takes up that issue with reference to the
theme of worldmaking, something that is concerned not only with the past,
but also with the future, because it begins with the willingness and the ability
to imagine a different world. Art is an important element in any worldmaking
agenda, because it has always been a means to imagine other possibilities.
In 2011, the Humanities Research Centre at the Australian National
Many people in the West can recognise an image of Mao Zedong (1894–1976) and know
that he was an important Chinese leader, but few appreciate the breadth and
depth of his political and cultural significance. Fewer still know what the
Chinese Cultural Revolution (1966–76) was, or understand the extent of its
influence on art in the West or in China today. This anthology, which is the
first of its kind, contends that Maoism and the Chinese Cultural Revolution were
dominant cultural and political forces in the second half of the twentieth
century – and that they continue to exert influence, globally, right up to the
present. In particular, the book claims that the Chinese Cultural Revolution
deserves a more prominent place in twentieth-century art history. Exploring the
dimensions of Mao’s cultural influence through case studies, and delineating the
core of his aesthetic programme, in both the East and the West, constitute the
heart of this project. While being rooted in the tradition of social art history
and history, the essays, which have been written by an international community
of scholars, foreground a distinctively multidisciplinary approach. Collectively
they account for local, regional and national differences in the reception,
adoption and dissemination of – or resistance to – Maoist aesthetics.
What is art cinema?
Definitions of art cinema have long been contested, but the generic term ‘art cinema’ has generally come to stand for feature-length narrative films that are situated at the margins of mainstream cinema, located somewhere between overtly experimental films and more obviously commercial product. Whether it is through a modernist, drifting, episodic approach to storytelling; a complex engagement with high culture; the foregrounding of a distinct authorial voice; or a simple refusal to bow to
The politics of identity and recognition
in the ‘global art world’
Identity politics informed by postcolonial critique dominated the discourses
on the interrelations of globalisation, migration and contemporary art in the
1990s and the early 2000s. The previous chapter characterised the position
from which the struggle for recognition of non-Western artists was launched,
designating it the postcolonial position, in contradistinction to the migratory aesthetics position that gathered momentum in the 2000s. This second
chapter examines the historical role and
Since 1969, Howard Barker has written over a hundred dramatic works, six published volumes of poetry, two books of philosophical and aesthetic theory and a third-person autobiography/reflection on practice. This book provides international perspectives on the full range of Barker's achievements, theatrical and otherwise, and argues for their unique importance and urgency at the forefront of several genres of provocative modern art. Barker distinguishes his objectives from those of the conventional theatre by terming what he pursues the Art of Theatre: a felicitous term for an artist holistically engaged with so many facets of theatre artistry. The book identifies the technical challenges and performative pleasures and tactics of both the Barker character and the Barker actor, and provides an account of report and repetition in Barker's company, The Wrestling School. Barker's work between 1977 and 1986 offers remarkable presages: both of the play of national and global power, and of Barker's distinctive artistry. The book focuses specifically on Barker's theatrical orchestration of nakedness, and examines the underlying ideologies of systems of surveillance and punishment which would literally claim, frame, and thus contain the transgressive individual (body). It provides a series of readings of specific Barker plays such as I Saw Myself, Scenes from an Execution, Gertrude - The Cry, and The Bite of the Night. The book opens up a full examination of Barker's 'triple excavation', his mutually informative work in paintings, poems and plays.