A plain speaking, jargon-free account of contemporary art that identifies key themes and approaches, providing the reader with a clear understanding of the contexts in which art is being made today.
Since the 1960s contemporary art has overturned the accepted historical categorizations of what constitutes art, who creates it, and how it is represented and validated. This guide brings the subject right up-to-date, exploring the notion of 'contemporary' and what it means in the present as well as how it came about.
Curator and writer Natalie Rudd explains the many aspects of contemporary art, from its backstory to today, including different approaches, media and recurring themes. Each chapter addresses a core question, explored via an accessible narrative and supported by an analysis of six relevant works.
Rudd also looks at the role of the art market and its structures, including art fairs and biennales and how these have developed since the millennium; the expanded role of the contemporary artist as personality; how artists are untangling historical and contemporary narratives to expose inequalities; the ethics of making; and the potential for art to improve the world and effect political change. A 'toolkit' section offers advice on how to interpret contemporary art and where to access it.
Offering a more multi-narrative and international perspective, this guide discusses what motivates artists as they try to make sense of the world, and their place within it.
This monograph documents works by Studio Morison, established in 2003 by British artists Heather Morison (born 1973) and Ivan Morison (born 1974), known for their large-scale, architectural sculptures in public environments. Texts by curators, architects, sci-fi writers and collaborators accompany the duo's reflections on each work.
Dans un bâtiment dessiné par Herzog & De Meuron, le nouveau musée d'art moderne et contemporain M+ ouvrira ses portes à l'automne 2021 dans le quartier de West Lowloon à Hong Kong. Cet ouvrage propose une immersion dans la naissance de ce nouveau musée, ses projets préliminaires pour entrer en contact avec lepublic de la ville, la choix de son terrain d'implantation et l'élaboration de son angle muséal.
In 2021, the Art Gallery of New South Wales celebrates its 150th anniversary. Since its founding as an academy of art in 1871, its evolution into one of Australia's premier public art museums is testament to the enthusiasm and ingenuity of its staff, trustees and supporters, and to the artists whose works have drawn in the people of Sydney and beyond.
The exhibitionists is the story of the people who made the Gallery. It peels away the layers of official narratives to find the often-overlooked histories bubbling beneath the surface. These are tales of big personalities and great talents, of groundbreaking exhibitions and table-thumping conflicts, all underpinned by an unwavering commitment to bringing art to the people.
Steven Miller, the Gallery's archivist, is uniquely placed to bring these stories to light. It's an inside view, and an outside one too, as Miller steps back to explore the society and cultural values that produced this iconic institution and tracks how it has morphed and modernised in step with those values - and ahead of them - for the last century and a half.
The exhibitionists brings to light the history of an art museum in its 150th year - an anniversary also reached by The Metropolitan Museum, New York, last year. It is both a local Sydney story but part of a broader international one in the ways public museums develop, represent and present culture and evolve with the times.
How art can enhance cultural relations: the work of the British Council, from 1935 to now.
For more than eight decades, the British Council has sent British art abroad to foster dialogue with over 1,000 countries, amassing a collection comprising over 8,500 pieces. This book follows the work of the Council since 1935.
Highly successful and critically acclaimed, "Art of the Electronic Age" is now available in paperback for the first time, bringing to a wider audience the extraordinary artistic experimentation of the last 25 years. Frank Popper reveals the various trends that have been spawned by these unprecedented innovations - laser and holographic art; video, computer and communication art; installation, demonstration and performance art - and analyzes each of these movements in terms of its objectives and its participants. In showing what cannot be described by words alone, the colour illustrations are an essential aspect of this analysis. Popper demonstrates that such art has not emerged out of the blue, but is a clear evolution from the art and artists that preceded it, with the same objective of creating a shared aesthetic experience. A valuable study, "Art of the Electronic Age" should encourage such pioneering art to be assimilated, interpreted and enjoyed by a wider audience.