By Alexander Dumbadze, Suzanne Hudson
An enticing account of today’s modern paintings international that includes unique articles through best foreign artwork historians, critics, curators, and artists, introducing assorted views at the most vital debates and discussions taking place round the world.
* encompasses a selection of all-new essays, geared up round fourteen particular topics, selected to mirror the most recent debates in modern paintings given that 1989
* every one subject is prefaced through an advent on present discussions within the box and investigated through 3 essays, every one laying off mild at the topic in new and contrasting ways
* issues contain: globalization, formalism, know-how, participation, corporation, biennials, activism, fundamentalism, judgment, markets, paintings colleges, and scholarship
* foreign in scope, bringing jointly over 40 of crucial voices within the box, together with Sofía Hernández Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan Verwoert
* A stimulating advisor that may inspire polemical interventions and foster severe discussion between either scholars and paintings aficionados
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Additional info for Contemporary Art: 1989 to the Present
52. 5 Miwon Kwon, “One Place After Another: Notes on Site Specificity,” October 80 (Spring 1997), p. 88. 6 Okwui Enwezor, “History Lessons,” Artforum 46 (September 2007), p. 382. Enwezor is not alone in this assertion and, in fact, discussions regarding the rise of biennials during the 1990s and after are increasingly focused on the geopolitical frame for cultural endeavors. See Elena Filipovic, Marieke van Hal, and Solveig Øvstebø, “Bienniology,” The Biennial Reader (Bergen, Norway: Bergen Kunsthall, 2010), pp.
Late antiquity and the Middle Ages were thus rediscovered and “revived” by romanticism, not because of their sequential order, but because they provided valued vehicles for resisting absorption into the pure present of nascent industrial societies. And despite obvious differences, the cubist romance with African masks or Barnett Newman’s interest in the Indian mounds of Ohio Valley are but two examples of this same appropriative gesture, geared toward retrieving specific moments in a large and indefinite past.
31. 17 In part, here I merely reaffirm Hardt and Negri’s point regarding cultural critics needing some footing in the field of economics, and in the passages that follow certain correlations with mass commerce, particularly in terms of tourism and branding in art, should be clear. My hope, however, is that the present discussion implies—even if only by underlining extant conditions for the institutions of art—how such proximity also offers a unique opportunity to engage. 18 For a more nuanced consideration of this subject, see my “Framing the Question: The Grand Tour,” Artforum 46 (September 2007), pp.