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Escultura Social
Mexico City has emerged as a thriving center of contemporary art. Escultura Social: A New Generation of Art from Mexico City features recent work by a group of artists whose influence has already extended far beyond Mexico and focuses on how they have contributed to an international dialogue through their use of nontraditional materials, new media, and critical perspectives. This book takes Joseph Beuys's idea of "social sculpture," or escultura social, as a multivalent reference point for understanding how these socially engaged works promote a demystified and democratic concept of art-making. Featuring the work of twenty artists, this bilingual volume includes several artists' writings by Stefan Bruggemann and Mario Garcia Torres, Abraham Cruzvillegas, Yoshua Okon, and Pedro Reyes - about artist-run exhibition spaces. Critical essays on the contemporary Mexican scene and relevance of Beuys's ideas are accompanied by illustrated texts on each artist in this unique and important book.
A Companion to Curation
The definitive reference text on curation both inside and outside the museum A Companion to Curation is the first collection of its kind, assembling the knowledge and experience of prominent curators, artists, art historians, scholars, and theorists in one comprehensive volume. Part of the Blackwell Companion series, this much-needed book provides up-to-date information and valuable insights on the field of curatorial studies and curation in the visual arts. Accessible and engaging chapters cover diverse, contemporary methods of curation, its origin and history, current and emerging approaches within the profession, and more. This timely publication fills a significant gap in literature on t...
Curating Design
Illustrated with contemporary case studies, Curating Design provides a history of and introduction to design curatorial practice both within and outside the museum. Donna Loveday begins by tracing the history of the collecting and display of designed objects in museums and exhibitions from the 19th century 'cabinet of curiosities' to the present day design museum. She then explores the changing role of the curator since the 1980s, with curators becoming much more than just 'keepers' of a collection, with a remit to create narrative and experiential exhibitions as well as develop the museum's role as a space of learning for its visitors. Curating as a practice now describes the production of ...
Cabinet
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Everything Is Connected
Since the mid-twentieth century, conspiracy has pervaded our collective worldview, shaped by events such as the assassination of John F. Kennedy, the Vietnam War, Watergate, the Iran-Contra affair, and 9/11. Everything Is Connected examines how artists from the 1960s to the present have explored both the covert operations of power and the mutual suspicion between governments and their citizens. Featured are works by some thirty artists—including Sarah Charlesworth, Emory Douglas, Hans Haacke, Rachel Harrison, Jenny Holzer, Mike Kelley, Mark Lombardi, Cady Noland, Trevor Paglen, Raymond Pettibon, Jim Shaw, and Sue Williams—in media ranging from painting, drawing, and photography to video and installation art. Whether they uncover webs of deceit hidden in the public record or dive headlong into paranoid fever dreams, these artists use their work to take a powerful and proactive stance against the political corruption, consumerism, bureaucracy, and media manipulation that are hallmarks of contemporary life. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
Art & Visual Culture 1850-2010
Through carefully chosen themes and topics rather than through a general survey, this title approaches the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. It includes essays which engage directly with topical issues around art and gender, globalisation, cultural difference and curating.
Ausst.u.d.T.: John Miller
Among such contemporaries as Mike Kelley and Jim Shaw, but also Tony Oursler and Stephen Prina, John Miller embodies a singular position: he articulates the synthesis of an ideologically committed critique of representation with a post-conceptual shift toward the 'real'. Using completely stereotyped genres (figurative painting, travel photography, landscape painting etc.), Miller, like Sherrie Levine and Richard Prince has, since the end of the 1970s, challenged the function of the author and the concomitant loss of aura of the artwork. Yet this critique is for him only a means of revealing the repressed aspect of the ideological aggregates of day-to-day late-capitalist Western culture. Firs...
Art press
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