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Sculpture and the Decorative in Britain and Europe
By foregrounding the overlaps between sculpture and the decorative, this volume of essays offers a model for a more integrated form of art history writing. Through distinct case studies, from a seventeenth-century Danish altarpiece to contemporary British ceramics, it brings to centre stage makers, objects, concepts and spaces that have been marginalized by the enforcement of boundaries within art and design discourse. These essays challenge the classed, raced and gendered categories that have structured the histories and languages of art and its making. Sculpture and the Decorative in Britain and Europe is essential reading for anyone interested in the history and practice of sculpture and the decorative arts and the methodologies of art history.
Creative Enterprise
In the face of unparalleled growth and a truly global audience, the popularity of contemporary art has clearly become a double-edged affair. Today, an unprecedented number of museums, galleries, biennial-style exhibitions, and art fairs display new work in all its variety, while art schools continue to inject fresh talent onto the scene at an accelerated rate. In the process, however, contemporary art has become deeply embedded not only in an expanding art industry, but also the larger cultures of fashion and entertainment. Buskirk argues that understanding the dynamics of art itself cannot be separated from the business of presenting art to the public. As strategies of institutional critique have given way to various forms of collaboration or accommodation, both art and museum conventions have been profoundly altered by their ongoing relationship. The escalating market for contemporary art is another driving force. Even as art remains an idealized activity, it is also understood as a profession, and in increasingly obvious ways a business, particularly as practiced by star artists who preside over branded art product lines.
Contemporary Opera in Flux
In twelve essays, Contemporary Opera in Flux discusses a series of shifts that, taken together, have radically redefined the production and reception of opera. Focusing on productions involving late twentieth- and twenty-first century scores and libretti, the contributors draw on conversations with members of creative teams and studies of archival material, dipping into a historical record that remains in flux as composers, librettists, directors, and designers revisit existing work and create anew. The contributors to this volume push the boundaries of contemporary opera scholarship by examining works that disrupt operatic conventions; tackle sociopolitical issues such as drug trafficking, ...
Joan Jonas
Five Works presents a much broader look at the American artist's oeuvre than its name suggests. This first major exhibition of Jonas's work in a New York museum includes a selection of the artist's works in installation and video, drawings, photographs and sketchbooks. Curated by Valerie Smith, QMA Director of Exhibitions, the show brings together five key works (aha ) from Jonas's career including Organic Honey's Visual Telepathy, Organic Honey: Vertical Roll (1972-1994), The Juniper Tree (1976-1978), Volcano Saga (1985-1994), Revolted by the Thought of Known Places... (1992-2003), and Lines in the Sand (2002) . Also included are her portable My New Theater series (1997-1999), drawings and sketches. All of the works in the exhibition are presented in color and this catalogue which also includes an interview with Jonas and poet/scholars Susan Howe and Jeanne Heuving.
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