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Artist + Entrepreneur = Artrepreneur.
Today, more than ever before, creative professionals from all creative domains are beginning to realize that in order to pursue a creative career you need to think like an entrepreneur. Yet as we discover in this book, the motivating factors between what drives an entrepreneur and an Artrepreneur differ greatly.
For one, Artrepreneurs are not always in it for the money. On the contrary, they are often driven by raw passion and the desire to create. This drive usually creates tension between maintaining authenticity and creativity as an artist, and administrating a business, which is you. In essence, this book is about assisting creative professionals to understand that they are the business and not only the artist. It is about the intersection between being an artist and being an entrepreneur, hence the title of the book.
Part self-help, part coaching, part delve-into-your-soul-to-find-the-real-you. Why? Because without the real you, art will always be a copy and never a creation.
As the struggle against apartheid gained momentum in the seventies and eighties, women photographers recorded the drama unfolding across the land. More recently, women have begun exploring a different aesthetic and developing a wide range of photographic practices in the worlds of fashion, journalism, documentary, and advertising. Seventy-five photographers and almost 400 images are included.
"Robin Comley" has worked as a journalist and editor and is photographic editor of "A Century of Sundays," a retrospective on 100 years of the "Sunday Times" newspaper. "George Hallett" is a Cape Town-based photographer who has exhibited internationally. In 1995, he won a Golden Eye in the World Press Photo Award for his essay on President Mandela during the 1994 election campaign. "Neo Ntsoma" has won many prestigious awards including the CNN African Journalist Award (Photography), of which she was the first woman recipient. Her work has been published in international publications and her photo-project, South African Youth ID--Kwaito Culture' appeared in "Moving in Time," an anthology of work from fifty South African photographers in celebration of ten years of democracy.
Queer lives give rise to a vast array of objects: the things we fill our houses with, the gifts we share with our friends, the commodities we consume at work and at play, the clothes and accessories we wear, and the analogue and digital technologies we use to communicate with one another. But what makes an object queer? The sixty-three chapters in Queer Objects consider this question in relation to lesbian, gay and transgender communities across time, cultures and space. In this unique international collaboration, well-known and newer writers traverse world history to write about items ranging from ancient Egyptian tomb paintings and Roman artefacts to political placards, snapshots, sex toys and the smartphone. Fabulous, captivating, transgressive. -- .
As negentienjarige ryloper in Spanje beland Frank Westerman toevallig in die dorpie Banyoles, waar ’n opgestopte “Kalahari-Boesman”, slegs bekend as El Negro, uitgestal word. Sy indrukke bly hom by – en wanneer hy dekades later weer van El Negro lees, die keer in ’n Franse koerant, is dit die begin van ’n ondersoeksreis wat belangrike vrae oor rasopvattings en die Westerse beskawing na vore bring. Wie was hierdie naamlose man? Wat se sy opgestopte “museumteenwoordigheid” oor Europese denke oor slawerny, rassisme en kolonialisme – en bied hy slegs ’n spieel op ’n vergange tyd, of ook op die hede?
Part of the acclaimed series of anthologies which document major themes and ideas in contemporary art. A timely collection of texts, interviews and documentation reflecting the complex interrelationship between the urban, the rural and contemporary cultural production. What, and where, is `the Rural'? From the rocks that break a farmer's plough on a field in Japan, to digital infrastructures which organise geographically dispersed interests and ambitions, vast parts of our lives are still connected and dependent on resources, production and infrastructures located within rural geographies, and the rural remains a shared and common cultural space. This anthology offers an urgent and diverse cross-section of rural art, thinking and practice, and considers how artists respond to the socio-economic divides between the rural and the urban, from re-imagined farming practices and food systems to architecture, community projects and transnational local networks. Edited by three artists who have been working within rural situations and communities for the last twenty years, this anthology is formed as a document, tool and navigation device for future artistic practice, where `the Rural' is filtered through a lens sharpened by an audiencebased model of art which practices from within the culture it addresses. Artists, practitioners and organisations surveyed include Lina Bo Bardi, Futurefarmers, Fernando Garcia-Dory, Grizedale Arts, Hagiwara Farm, Sigrid Holmwood, Freeyad Ibrahim, Brian Jungen, Renzo Martens, M12 Group, Helio Oiticica, Robert Smithson, Bedwyr Williams. Writers include Kenneth Anders, Homi K. Bhabha, Ivan Illich, Julia Kristeva, Henri Lefebvre, Maria Lind, Marco Marcon, Georgy Nikich, Vandana Shiva, Paul O'Neill, Doina Petrescu, Natalie Robertson, David Teh, Reinhardt Vanhoe, Colin Ward.
This is a children's art book for grown-ups. In everyday language it shows how to explain to children what to look for and how to enjoy paintings as diverse as a Renaissance religious scene, an impressionist portrait or modernist masters like Kandinsky and Picasso. Examining 30 paintings by great artists, from 1500 to the present day, in galleries around the world, this book gives examples of the kinds of questions a child might ask about the paintings such as; 'Who are the people in this painting?' 'Why has the artist used those colours?' 'How did the artist choose what to paint?' And provides straightforward answers. Demystifying art appreciation, this book reveals that the simplest questions can be among the most pertinent. There is plenty that will stimulate children's interest in art - and enlighten grown-ups too.
The art history of New Mexico never stopped growing and innovating. Sample some of the latest practitioners of the visual arts in this beautifully reproduced calendar. By brush and by pen, these New Mexico-based artists render the state's people, pueblos, canyons, and mountains with exuberant palettes and intriguing points of view.
`Practice' is one of the key words of contemporary art, ranging from artists' descriptions of their practice to curatorial practice, from social practice to practice-based research. Once used to denote `doing', as distinct from thinking and making, today the term can convey associations of political action (praxis), professional activity, discipline or rehearsal, as well as a shift away from the self-enclosed artwork or medium to open-ended actions, series, processes and projects. This is the first anthology to investigate what contemporary notions of practice mean for art, to trace their development and speculate on where this leads. Artists surveyed include Arakawa, AA Bronson, John Cage, Judy Chicago, Lygia Clark, Andrea Fraser, Tehching Hsieh, Mary Kelly, Henri Michaux, Linda M. Montano, Shireen Neshat, Pauline Oliveros, Yoko Ono, Adrian Piper, Gerhard Richter, Miriam Schapiro, Carolee Schneemann, Stelarc, Fiona Tan, Min Tanaka, Nadezhda Tolokonnikova, Cecilia Vicuna. Writers include Kathy Acker, Giorgio Agamben, Hannah Arendt, Alain Badiou, Claire Bishop, Gregg Bordowitz, Pierre Bourdieu, Julia Bryan-Wilson, Judith Butler, Jennifer Doyle, Okwui Enwezor, Paul B. Preciado, Suely Rolnik, Peter Sloterdijk, Isabelle Stengers, Winnie Won Yin Wong.
Biographies of artists and writers have traditionally presented an individual's lone struggle for self-expression. In this book, critics and historians challenge these assumptions in a series of essays that focus on artist and writer couples who have shared sexual and artistic bonds. Featuring duos such as Auguste Rodin and Camille Claudel, Sonia and Robert Delaunay, Vanessa Bell and Duncan Grant, and Jasper Johns and Robert Rauschenberg, this book combines biography with evaluation of each partner's work in the context of the relationship.
"Really good. Highly recommended." Andrew Marr, Radio 4: Start the Week From the author of the internationally bestselling The $12 Million Stuffed Shark comes a fresh and provocative look at the high-end art market and whether it is a bubble about to burst. Within forty-eight hours in the autumn of 2014, buyers in the Sotheby's and Christie's New York auction houses spent $1.7 billion on contemporary art. Economist and bestselling author Don Thompson cites this and other fascinating examples to explore the sometimes baffling activities of the high-end contemporary art market, examining what is at play in the exchange of vast amounts of money and what nudges buyers, even on the subconscious level, to imbue a creation with such high commercial value. Thompson analyses the behaviours of buyers and sellers and delves into the competitions that define and alter the value of art in today's international market, from New York to London, Singapore to Beijing. Take heed if your fortunes are tied up in stainless steel balloon dogs - Thompson also warns of a looming bust of the contemporary art price balloon. A fascinating explanation, through the field of behavioural economics, for the phenomena that is behind the incredible value of contemporary art.
Without boredom, arguably there is no modernity: the current sense of the word emerged simultaneously with industrialisation, mass politics and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And from modernism's retreat into abstraction to subsequent demands placed on audiences, from the late 1960s to the present, the viewer's endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going. In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and extends from a malign condition to be struggled against, to an experience to be embraced, or explored as a site of resistance.In this anthology, the range of boredoms associated with our neoliberal moment is contextualized in a long view which encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the USA of silence, repetition or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance and film; Punk's social critique and its influence on theories of the postmodern; and the recognition from the end of the 1980s of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labour alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous.Artists surveyed include Chantal Akerman, Francis Alys, John Baldessari, Vanessa Beecroft, Bernadette Corporation, John Cage, Critical Art Ensemble, Merce Cunningham, Marcel Duchamp, Fischli & Weiss, Claire Fontaine, Dick Higgins, Jasper Johns, Donald Judd, Ilya Kabakov, Boris Mikhailov, Robert Morris, John Pilson, Sigmar Polke, Yvonne Rainer, Robert Rauschenberg, Ad Reinhardt, Gerhard Richter, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Faith Wilding, Janet Zweig.Writers include Ina Blom, Nicolas Bourriaud, Jennifer Doyle, Alla Efimova, Jonathan Flatley, Julian Jason Haladyn, The Invisible Committee, Jonathan D. Katz, Chris Kraus, Tan Lin, Sven Lutticken, John Miller, Agne Narusyte, Sianne Ngai, Peter Osborne, Patrice Petro, Christine Ross, Moira Roth, David Foster Wallace, Aleksandr Zinovyev.
While information science draws distinctions between 'information', signals and data, artists from the 1960s to the present have questioned the validity and value of such boundaries. Artists have investigated information's materiality, in signs, records and traces; its immateriality, in hidden codes, structures and flows; its embodiment, in instructions, social interaction and political agency; its overload, or uncontrollable excess, challenging utopian notions of networked society; its potential for misinformation and disinformation, subliminally altering our perceptions; and its post-digital unruliness, unsettling fixed notions of history and place. This anthology provides the first art-historical reassessment of information-based art in relation to data structures and exhibition curation, examining landmark exhibitions and re-examining work by artists of the 1960s to early 1980s, from Les Levine and N.E.Thing Co. to General Idea and Jenny Holzer.David Askewold, Iain Baxter, Guy Bleus, Heath Bunting, CAMP (Shaina Anand & Ashok Sukumaran), Ami Clarke, Richard Cochrane, Rod Dickinson, Hans Haacke, Graham Harwood, Jenny Holzer, Joseph Kosuth, Christine Kozlov, Steve Lambert and the Yes Men, Oliver Laric, Les Levine, Laszlo Moholy-Nagy, Muntadas, Erhan Muratoglu, Raqs Media Collective, Erica Scourti, Stelarc, Thomson & Craighead, Angie Waller, Stephen Willats, Young-Hae Chang Heavy Industries, Elizabeth Vander Zaag. Writers include James Bridle, Matthew Fuller, Francesca Gallo, Lizzie Homersham, Antony Hudek, Eduardo Kac, Friedrich Kittler, Arthur and Marilouise Kroker, Scott Lash, Alessandro Ludovico, Jean-Francois Lyotard, Charu Maithani, Suhail Malik, Armin Medosch, Srinivas Aditya Mopidevi, Craig Saper, Jorinde Seijdel, Tom Sherman, Felix Stalder, McKenzie Wark, Benjamin Weil.
Part of the acclaimed 'Documents of Contemporary Art' series of anthologies . Intrinsically collaborative, the magazine is an inherently `open' form, generating constantly evolving relationships. This anthology contextualizes the artist's magazine, surveying the art worlds it has by turns created and superseded; the commercial media forms it has critically appropriated, intervened in or subverted; the alternative, DIY cultures it has brought into being; and the expanded fields of cultural production, exchange and distribution it continues to engender. Surveying case studies of transformational magazines from the early 1960s onwards, this book also includes a wide-ranging archive of key editorial statements, from eighteenth-century Weimar to twenty-first century Bangkok, Cape Town and Delhi. Artists surveyed include: Can Altay, Ei Arakawa, Julieta Aranda, Tania Bruguera, Maurizio Cattelan, Eduardo Costa, Dexter Sinister, Rimma Gerlovina, Valeriy Gerlovin, Robert Heinecken, John Holmstrom, John Knight, Silvia Kolbowski, Lee Lozano, Josephine Meckseper, Clemente Padin, Raymond Pettibon, Adrian Piper, Seth Price, Raqs Media Collective, Riot Grrrl, Martha Rosler, Sanaa Seif, Rirkrit Tiravanija, Scott Treleaven, Triple Canopy and Anton Vidokle. Writers include: Saul Anton, Stuart Brand, Jack Burnham, Johanna Burton, Thomas Crow, Edit DeAk, Kenneth Goldsmith, Jurgen Habermas, Martina Koeppel-Yang, Antje Krause-Wahl, Lucy Lippard, Caolan Madden, Valentina Parisi, Howardena Pindell, Georg Schoellhammer, Nancy Spector, Sally Stein, Reiko Tomii, Jud Yalkut and Vivian Ziherl.
'ON and BY Andy Warhol' is an epic achievement. Gilda Williams has collected what seems like every word ever written about or uttered by the most influential artist of our time to produce a verbal collage portrait that is bold, revealing, multi-dimensional and original. If Andy were alive, he would probably say, "Oh, wow. Why didn't I think of that?" -- Bob Colacello, special correspondent, Vanity Fair. Author of Holy Terror: Andy Warhol Close Up and former Editor, Interview magazine. The impact of Andy Warhol on contemporary culture is incalculable. A pioneer in virtually every media in which he worked, Warhol also had a lesser-known hand in such contemporary staples as reality TV, computer art, and the rock-gig light show. In the wake of dedicated Twitter feeds today that easily adapt his short epithets or 'Warholisms' into 140-character snippets, Andy Warhol's cultural relevance seems only to grow in the 21st century.Edited and introduced by art critic Gilda Williams, ON&BY Andy Warhol brings together generations of notable writers who have examined the influence and legacy of Warhol's life and work: art critics including Douglas Crimp, Thomas Crow, Dave Hickey, Hal Foster and Lucy Lippard; artists Art & Language and Donald Judd; philosophers and cultural theorists including Arthur C. Danto, Fredric Jameson and Eve Kosofsky Sedgwick; and, more recently, novelists such as Saul Anton.Alongside accounts from Factory associates Bob Colacello and Mary Woronov, and recent revelations from Warhol Museum senior archivist Matt Wrbican, are critical assessments by Callie Angell, Rainer Crone, Anthony Huberman, Stephen Koch, Wayne Koestenbaum and Simon Watney amongst others; and further writings by Warhol (and his collaborators) such as THE Philosophy of Andy Warhol (From A to B and Back Again), Blue Movie, POPism, America, Andy Warhol's Party Book and The Andy Warhol Diaries, as well as interviews with Gretchen Berg and Alfred Hitchcock.
This is a bestselling and comprehensive introductory textbook that uses a four-part structure to cover all aspects of the visual arts, including: how art is designed - the visual language of art; how art is made - the media and processes, covering everything from painting and sculpture to graphic design, digital media, film and installations; the history of art, from prehistoric times to the twenty-first century and including art from all parts of the world; and major themes that recur across cultures and throughout history. A unique feature, the 'Gateways to Art', uses eight iconic images, examined repeatedly from different points of view (compositional, stylistic, etc.), to stimulate perceptions about how great works are created and take their effect. No other book currently available has such a wide coverage, provided in a modular form that enables students and teachers to learn or teach in a truly flexible way. Beautifully illustrated with more than 1,000 images of art, this dynamic and accessible book will appeal as much to the art enthusiast as to those looking for an outstanding educational resource.
Part of the acclaimed 'Documents of Contemporary Art' series of anthologies . I welcome this new book about materiality. It explores questions of embodiment in our age of virtuality, and that is no small matter. - Carolyn Christov-Bakargiev, International curator and art historian This anthology investigates materiality in art that attempts to expand notions of time, space, process or participation. It looks at materials that obstruct, disrupt or interfere with social norms, surfacing as impure formations and messy, unstable substances. It re-examines the notion of 'dematerialization'; addresses materialist critiques of artistic production; surveys the relationship between materiality and bodies; explores the vitality of substances, and the concepts of intermateriality and transmateriality that have emerged in the hybrid zones of digital experimentation. Artists surveyed include: Georges Adeagbo, Carl Andre, Janine Antoni, Amy Balkin, Artur Barrio, Robert Barry, Helen Chadwick, Mel Chin, herman de vries, Mark Dion, Jimmie Durham, VALIE EXPORT, Chohreh Feyzdjou, Romuald Hazoume, Ilya Kabakov, Mike Kelley, Zoe Leonard, Anthony McCall, Teresa Margolles, Robert Morris, ORLAN, Michelangelo Pistoletto, Tino Seghal, Shozo Starling, Paul Thek, Paul Vanouse, Mierle Laderman Ukeles, and Kara Walker. Writers include: Joseph A. Amato, Karen Barad, Judith Butler, Elizabeth Grosz, Hubert Damisch, Georges Didi-Huberman, Natasha Eaton, Briony Fer, Vilem Flusser, Jens Hauser, Dieter Hoffmann-Axthelm, Tim Ingold, Wolfgang Kemp, Julia Kristeva, Esther Leslie, Jean Francois-Lyotard, Sadie Plant, Dietmar R bel, Viktoria Schmidt-Linsenhoff, Simon Taylor, Hilke Wagner, Monika Wagner, and Gillian Whiteley.
Part of the acclaimed 'Documents of Contemporary Art' series of anthologies . ...this volume persuasively argues that there can be an aesthetics to ethics. - Stan Douglas, Artist The boundary of a contemporary art object or project is no longer thought of solely in physical terms but rather in relation to the specific social field it creates. Art is thus increasingly implicated in questions of ethics. This collection evaluates the relation of ethics to aesthetics, an encounter central to the contested space of much recent practice. It brings together theoretical foundations for an ethics of aesthetics; appraisals of art that engages with ethical issues; statements and examples of methodologies adopted by a diverse range of artists; and examination of artworks that question the ethical conditions in which contemporary art is produced and experienced. Artists surveyed include: Michael Asher, Tania Bruguera, Christoph Buchel, Merlin Carpenter, Paul Chan, Lygia Clark, Dexter Sinister, Fischli & Weiss, Andrea Fraser, Liam Gillick, David Hammons, Sharon Hayes, Thomas Hirschhorn, Khaled Hourani, Martin Kippenberger, Sharon Lockhart, Renzo Martens, Helio Oiticica, Seth Price, Walid Raad, Martha Rosler, Tino Sehgal, Santiago Sierra, Wolfgang Tillmans and Rirkrit Tiravanija. Writers include: Giorgio Agamben, Ariella Azoulay, Alain Badiou, Roland Barthes, Claire Bishop, Nicolas Bourriaud, Simon Critchley, Keller Easterling, Isabelle Graw, Jean-Francois Lyotard, Scorched Earth, Susan Sontag, Hito Steyerl, Triple Candie, Jan Verwoert and Eyal Weizman.
Part of the acclaimed 'Documents of Contemporary Art' series of anthologies . This collection surveys the choreographic turn in the artistic imagination from the 1950s onwards, and in doing so outlines the philosophies of movement instrumental to the development of experimental dance. By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the aesthetics and politics of dance as a major impetus in contemporary culture. It offers testimonies and writings by influential visual artists whose work has taken inspiration from dance and choreography. Dance - because of its ephemerality, corporeality, precariousness, scoring, and performativity - is arguably the art form that most clearly engages the politics of aesthetics in contemporary culture. Dance's ephemerality suggests the possibility of an escape from the regimes of commodification and fetishization in the arts. Its corporeality can embody critiques of representation inscribed in bodies and subjects. Its precariousness underlines the fragility of contemporary states of being. Scoring links it with conceptual art, as language becomes the articulator for possible as well as impossible modes of action. Finally, because dance always establishes a contract, or promise, between its choreographic planning and its actualization in movement, it reveals an essential performativity in its aesthetic project - a central concern for both art and critical thought in our time. Artists and choreographers surveyed include: Marina Abramovic, Pina Bausch, Jerome Bel, Seydou Boro, Trisha Brown, Rosemary Butcher, John Cage, Boris Charmatz, Ananya Chatterjea, Merce Cunningham, Joao Fiadeiro, William Forsythe, Simone Forti, Bruno Freire, Anna Halprin, Deborah Hay, Tatsumi Hijikata, Ishmael Houston-Jones, Mette Ingvartsen, Joan Jonas, Akira Kasai, Pichet Klunchun, Ralph Lemon, Xavier Le Roy, Babette Mangolte, Vera Mantero, Mathilde Monnier, Robert Morris, Bruce Nauman, Helio Oiticica, Lygia Pape, Steve Paxton, Adrian Piper, Yvonne Rainer, Robert Rauschenberg, La Ribot, Lia Rodrigues, Hooman Sharifi and Meg Stuart. Writers include: Giorgio Agamben, Bruce Altshuler, Charles Atlas, Sally Banes, Nicholas Birns, Terry Brennan, Barbara Browning, Jonathan Burrows, Mary Connolly, Bojana Cvejic, Arlene Croce, Gilles Deleuze, Kattrin Deufert, DD Dorvillier, Douglas Dunn, Eiko & Koma, Tim Etchells, Jan Fabre, Matteo Fargion, Peter Eleey, Tim Etchells, Susan Foster, Sondra Fraleigh, Mark Franko, Adrian Heathfield, Graley Herren, Andrew Hewitt, Bill T. Jones, Jeff Kelley, Rosalind E. Krauss, Bojana Kunst, Henri Lefebvre, Boyan Manchev, Jean-Luc Nancy, Tamah Nakamura, Lloyd Newson, Yoko Ono, Halifu Osumare, Jeroen Peeters, Thomas Plischke, Yvonne Rainer, Richard Serra, Gerald Siegmund, Marten Spangberg, Luc Van den Dries, Myriam Van Imschoot and Pascale Weber.
The 'death of painting' and its subsequent resurrection in transformed conditions is an oft-rehearsed leitmotif of the modernist era, yet from the postconceptual painting revival of the early 1980s to the present new perspectives have emerged that reopen the entire field, not only globally but historically beyond the past century. The diversity of meanings and practices signified by painting today can encompass the eclecticism associated with net-surfing and the philosophical naming as 'painting' of artworks that manifest no trace of paint. This is the first anthology to bring together key statements, dialogues and debates by artists and writers on art that have been building blocks of the latest era in painting's history. Predominantly first published in magazines, journals and catalogues, these texts recontextualize polarized debates and reignite questions for the future. Tracing the story from the 'neo' revivals onward, this collection also ranges widely across ideas and practices of the preceding decades as they have been re-evaluated by artists and theorists in the frame of contemporary ideas.Artists surveyed include Glenn Brown, Vija Celmins, John Currin, Marlene Dumas, Olafur Eliasson, Bernard Frize, Katharina Grosse, Andreas Gursky, Peter Halley, Gary Hume, Jutta Koether, Paul McCarthy, Suzanne McCleland, Beatriz Milhazes, Takashi Murakami, Albert Oehlen, Lari Pittman, Sigmar Polke, Gerhard Richter, Robert Ryman, David Salle, Cheri Samba, Jim Shaw, Jessica Stockholder, Philip Taaffe, Luc Tuymans, Jeff Wall and Sue Williams. Writers include Daniel Birnbaum, Norman Bryson, Douglas Crimp, Gilles Deleuze, Sebastian Egenhofer, Hal Foster, Jeremy Gilbert-Rolfe, Isabelle Graw, David Joselit, Shirley Kaneda, Geeta Kapur, Thomas Lawson, Midori Matsui, Lane Relyea, Rene Ricard, Jerry Saltz, Mira Schor, Barry Schwabsky and Adrian Searle.
Part of the acclaimed 'Documents of Contemporary Art' series of anthologies . The 'sonic turn' in recent art reflects a wider cultural awareness that sight no longer dominates our perception or understanding of contemporary reality. The background buzz of myriad mechanically reproduced sounds increasingly mediates our lives. Tuning in to this incessant auditory stimulus some of our most influential artists have investigated the corporeal, cultural and political resonance. In tandem with recent experimental music and technology, art has opened up to hitherto excluded dimensions of noise, silence and the act of listening. Artists working with sound have engaged in new forms of aesthetic encounter with the city and nature, the everyday and cultural otherness, technological effects and psychological states. New perspectives on sound have generated a wave of scholarship in musicology, cultural studies and the social sciences. But the equally important rise of sound in the arts since 1960 has so far been sparsely documented. This volume is the first sourcebook to provide, through original critical writings and artists' statements, a genealogy of sonic pathways into the arts; philosophical reflections on the meanings of noise and silence; dialogues between art and music; investigations of the role of listening and acoustic space; and a comprehensive survey of sound works by international artists from the avant-garde era to the present. Artists surveyed include: Marina Abramovic, Vito Acconci, Doug Aitken, Maryanne Amacher, Laurie Anderson, John Cage, Kim Cascone, Martin Creed, Paul DeMarinis, Bill Fontana, Kim Gordon, Dan Graham, Ryoji Ikeda, Mike Kelley, Christina Kubisch, Bernhard Leitner, Alvin Lucier, Len Lye, Christian Marclay, Max Neuhaus, Carsten Nicolai, Hermann Nitsch, Yoko Ono, Nam June Paik, Luigi Russolo, Karin Sander, Mieko Shiomi, Michael Snow and Bill Viola. Writers include: Ralph T. Coe, Christoph Cox, Suzanne Delehanty, William Furlong, Liam Gillick, Paul Hegarty, Branden W. Joseph, Douglas Kahn, Dan Lander, W.J.T. Mitchell, Michael Nyman, R. Murray Schafer, Michel Serres, David Toop and Paul Virilio.
Part of the acclaimed series of anthologies which document major themes and ideas in contemporary art. A vital resource through which to understand the ways technologies, materials, techniques and tools are investigated through the lens of craft in contemporary art. Craft is a contested concept in art history and a vital category through which to understand contemporary art. Through `craft', materials, techniques and tools are investigated and their histories explored in order to reflect on the politics of labour and on the extraordinary complexity of the made world around us. This anthology offers an ethnography of craft, surveying its shape-shifting identities in the context of progressive art and design through writings by artists and makers, and drawing on poetry, fiction, anthropology and sociology. Reflections on new technologies and materials, lost and found worlds of handwork and the politics of work all throw light on `craft' as process, product and ideology. Artists surveyed include Anni Albers, El Anatsui, Phyllida Barlow, Louise Bourgeois, Annie Cattrell, Richard Deacon, Sam Durant, Antje Ehmann, Harun Farocki, Lucio Fontana, Theaster Gates, Sabrina Geschwantner, Harmony Hammond, Brian Jungen, Henry Krokatsis, Ana Lupas, Enzo Mari, Ethel Mairet, Agnes Martin, Robert Morris, Simon Periton, Martin Puryear, Jessi Reaves, Hannah Ryggen, Bridget Riley, Lu Shengzhong, Troy Town Art Pottery, Francis Uprichard, Peter Voulkos, Edmund de Waal. Writers include Glenn Adamson, W. H. Auden, Elissa Auther, Reyner Banham, Jean Baudrillard, John Berger, Walter Benjamin, Michel de Certeau, Iftikhar Dadi, Martin Heidegger, Joan Key, Igor Kopytoff, Primo Levi, Sarat Marahraj, Karl Marx, Lev Manovich, William Morris, Sadie Plant, Rainer Maria Rilke, Jenni Sorkin, Richard Sennett, Julia Bryan- Wilson.
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