{"product_id":"contemporary-art-isbn-9781444338607","title":"Contemporary Art","description":"\u003cp\u003eAn engaging account of today’s contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eFeatures a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989\u003c\/li\u003e \u003cli\u003eEach topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways\u003c\/li\u003e \u003cli\u003eTopics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship\u003c\/li\u003e \u003cli\u003eInternational in scope, bringing together over forty of the most important voices in the field, including Sofía Hernández Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan Verwoert\u003c\/li\u003e \u003cli\u003eA stimulating guide that will encourage polemical interventions and foster critical dialogue among both students and art aficionados\u003c\/li\u003e \u003c\/ul\u003e  \u003cp\u003e\u003ci\u003eContributors ix\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eINTRODUCTION 1\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eAlexander Dumbadze and Suzanne Hudson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 THE CONTEMPORARY AND GLOBALIZATION 5\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWorlds Apart: Contemporary Art, Globalization, and the Rise of Biennials 7\u003cbr\u003e Tim Griffin\u003c\/p\u003e \u003cp\u003e“Our” Contemporaneity? 17\u003cbr\u003e Terry Smith\u003c\/p\u003e \u003cp\u003eThe Historicity of the Contemporary is Now! 28\u003cbr\u003e Jean-Philippe Antoine\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 ART AFTER MODERNISM AND POSTMODERNISM 37\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eElite Art in an Age of Populism 39\u003cbr\u003e Julian Stallabrass\u003c\/p\u003e \u003cp\u003e“Of Adversity we Live!” 50\u003cbr\u003e Monica Amor\u003c\/p\u003e \u003cp\u003eMaking it Work: Artists and Contemporary\u003c\/p\u003e \u003cp\u003eArt in China 60\u003cbr\u003e Pauline J. Yao\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 FORMALISM 70\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eForm Struggles 72\u003cbr\u003e Jan Verwoert\u003c\/p\u003e \u003cp\u003eFormalism Redefined 84\u003cbr\u003e Anne Ellegood\u003c\/p\u003e \u003cp\u003eThe World in Plain View: Form in the Service of the Global 95\u003cbr\u003e Joan Kee\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 MEDIUM SPECIFICITY 105\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe (Re)Animation of Medium Specificity in Contemporary Art 107\u003cbr\u003e Sabeth Buchmann\u003c\/p\u003e \u003cp\u003eMedium Aspecificity\/Autopoietic Form 117\u003cbr\u003e Irene V. Small\u003c\/p\u003e \u003cp\u003eSpecificity 126\u003cbr\u003e Richard Shiff\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 ART AND TECHNOLOGY 137\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eTest Sites: Fabrication 139\u003cbr\u003e Michelle Kuo\u003c\/p\u003e \u003cp\u003eInhabiting the Technosphere: Art and Technology Beyond Technical Invention 149\u003cbr\u003e Ina Blom\u003c\/p\u003e \u003cp\u003eConceptual Art 2.0 159\u003cbr\u003e David Joselit\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 BIENNIALS 169\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIn Defense of Biennials 171\u003cbr\u003e Massimiliano Gioni\u003c\/p\u003e \u003cp\u003eCurating in Heterogeneous Worlds 178\u003cbr\u003e Geeta Kapur\u003c\/p\u003e \u003cp\u003eBiennial Culture and the Aesthetics of Experience 192\u003cbr\u003e Caroline A. Jones\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 PARTICIPATION 202\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eParticipation 204\u003cbr\u003e Liam Gillick and Maria Lind\u003c\/p\u003e \u003cp\u003eThe Ripple Effect: “Participation” as an Expanded Field 214\u003cbr\u003e Johanna Burton\u003c\/p\u003e \u003cp\u003ePublicity and Complicity in Contemporary Art 224\u003cbr\u003e Sofía Hernández Chong Cuy\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 ACTIVISM 232\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eActivism 234\u003cbr\u003e Andrea Giunta\u003c\/p\u003e \u003cp\u003eKnit Dissent 245\u003cbr\u003e Julia Bryan-Wilson\u003c\/p\u003e \u003cp\u003eLight from a Distant Star: A Meditation on Art, Agency, and Politics 254\u003cbr\u003e Raqs Media Collective\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 AGENCY 265\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eParticipation in Art: 10 Theses 267\u003cbr\u003e Juliane Rebentisch\u003c\/p\u003e \u003cp\u003eFusions of Powers: Four Models of Agency in the Field of Contemporary Art, Ranked Unapologetically in\u003cbr\u003e Order of Preference 277\u003cbr\u003e Tirdad Zolghadr\u003c\/p\u003e \u003cp\u003eLife Full of Holes: Contemporary Art and Bare Life 287\u003cbr\u003e T. J. Demos\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 THE RISE OF FUNDAMENTALISM 298\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMonotheism à la Mode 300\u003cbr\u003e Sven Lütticken\u003c\/p\u003e \u003cp\u003eFreedom’s Just Another Word 311\u003cbr\u003e Terri Weissman\u003c\/p\u003e \u003cp\u003eOn the Frontline: The Politics of Terrorism in Contemporary Pakistani Art 322\u003cbr\u003e Atteqa Ali\u003c\/p\u003e \u003cp\u003e\u003cb\u003e11 JUDGMENT 331\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eJudgment’s Troubled Objects 333\u003cbr\u003e João Ribas\u003c\/p\u003e \u003cp\u003eA Producer’s Journal, or Judgment A Go-Go 346\u003cbr\u003e Frank Smigiel\u003c\/p\u003e \u003cp\u003eAfter Criticism 357\u003cbr\u003e Lane Relyea\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12 MARKETS 367\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGlobalization and Commercialization of the Art Market 369\u003cbr\u003e Olav Velthuis\u003c\/p\u003e \u003cp\u003eThree Perspectives on the Market 379\u003cbr\u003e Mihai Pop, Sylvia Kouvali, and Andrea Rosen\u003c\/p\u003e \u003cp\u003eUntitled 388\u003cbr\u003e Ayreen Anastas and Rene Gabri\u003c\/p\u003e \u003cp\u003e\u003cb\u003e13 ART SCHOOLS AND THE ACADEMY 406\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eLifelong Learning 408\u003cbr\u003e Katy Siegel\u003c\/p\u003e \u003cp\u003eArt without Institutions 420\u003cbr\u003e Anton Vidokle\u003c\/p\u003e \u003cp\u003eWill the Academy Become a Monster? 429\u003cbr\u003e Pi Li\u003c\/p\u003e \u003cp\u003e\u003cb\u003e14 SCHOLARSHIP 436\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eOur Literal Speed 438\u003c\/p\u003e \u003cp\u003eOur Literal Speed\u003cbr\u003e Globalization, Art History, and the Specter of Difference 447\u003cbr\u003e Chika Okeke-Agulu\u003c\/p\u003e \u003cp\u003eThe Academic Condition of Contemporary Art 457\u003cbr\u003e Carrie Lambert-Beatty\u003c\/p\u003e \u003cp\u003e\u003ci\u003eIndex 467\u003c\/i\u003e\u003c\/p\u003e  \u003cp\u003e“Summing Up: Recommended. Upper-division undergraduates and above.”  (\u003ci\u003eChoice\u003c\/i\u003e, 1 August 2013)\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eAlexander Dumbadze\u003c\/b\u003e is assistant professor of contemporary art at George Washington University. He is president of the Society of Contemporary Art Historians and a cofounder of the Contemporary Art Think Tank. He has written essays for a number of international exhibition catalogues, and is a recipient of the Creative Capital| Warhol Foundation Arts Writers Grant.  His book \u003ci\u003eBas Jan Ader: Death is Elsewhere\u003c\/i\u003e is forthcoming in 2013.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSuzanne Hudson\u003c\/b\u003e is assistant professor of contemporary art at the University of Southern California. She is president emeritus and chair of the executive committee of the Society of Contemporary Art Historians and a cofounder of the Contemporary Art Think Tank. In addition to her work as an art historian, she is an active critic whose work has appeared in international exhibition catalogues and such publications as Parkett, Flash Art, and Art Journal; she is a regular contributor to Artforum. In 2009 she published \u003ci\u003eRobert Ryman: Used Paint,\u003c\/i\u003e and \u003ci\u003ePainting Now\u003c\/i\u003e is forthcoming in 2013.\u003c\/p\u003e  The contemporary art world has expanded exponentially—in both size and complexity—over the last two decades, leading to a general uncertainty as to what matters and why. \u003ci\u003eContemporary Art: 1989 to the Present\u003c\/i\u003e provides an unparalleled resource for students, artists, scholars, and art enthusiasts who are eager to navigate today’s art world. It is the first collection of its kind to bring together fresh perspectives from leading international art historians, critics, curators, and artists for a comprehensive discussion of what contemporary art is today.\u003cbr\u003e \u003cbr\u003e   \u003cp\u003eDivided into fourteen thematic clusters, each section presents three essays that offer a kaleidoscope of lively and expert viewpoints on each topic. Topics include globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, and art schools, and scholarship. These clusters organize material in distinct and overlapping ways, allowing readers to customize their approach to their needs. \u003c\/p\u003e \u003cp\u003eWith up-to-date research concerns as well as more enduring topics, this text will provoke lively discussion regarding contemporary art, its study, and its historiography. \u003ci\u003eContemporary Art: 1989 to the Present\u003c\/i\u003e provides a much-needed examination of the unique contemporary situation, and an encapsulation of a complex intellectual zeitgeist.\u003c\/p\u003e  \u003cp\u003e“With its rich roster of art historians, critics, and curators, \u003ci\u003eContemporary Art: 1989 to the Present\u003c\/i\u003e provides the essential chart of this new field. “\u003cbr\u003e - \u003ci\u003eHal Foster, Princeton University\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e“Featuring a diverse and exciting line-up of international critics, curators and art historians, \u003ci\u003eContemporary Art: 1989 to the Present\u003c\/i\u003e is an indispensable introduction to the major issues shaping the study of contemporary art.”\u003cbr\u003e - \u003ci\u003ePamela Lee, Stanford University\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e“In \u003ci\u003eContemporary Art: 1989 to the Present,\u003c\/i\u003e a new generation of critics and scholars comes of age.  Full of fresh ideas, engaged writing, and provocative proposals about the art of the current moment and the immediate past, this book is sure to become the standard, 'go to' text in the field of contemporary art history.”\u003cbr\u003e - \u003ci\u003eRichard Meyer, author of\u003c\/i\u003e What was Contemporary Art?\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47988980515045,"sku":"NP9781444338607","price":94.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781444338607.jpg?v=1761782301","url":"https:\/\/k12savings.com\/products\/contemporary-art-isbn-9781444338607","provider":"K12savings","version":"1.0","type":"link"}