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Sited in a converted library building on a promontory overlooking the ocean in the town of Stykkish�lmur on the west coast of Iceland, VATNASAFN / LIBRARY OF WATER incorporates many of Roni Horn's abiding artistic concerns with water and weather, reflection and illumination, and the fluid nature of identity. Twenty-four glass columns containing water from glaciers around Iceland refract and reflect the day into a rubber floor embedded with words used to describe weather, inside or out. VATNASAFN / LIBRARY OF WATER also offers a space for community gatherings, a studio for writers, and it houses an oral archive of weather reports gathered from people who live in and around Stykkish�lmur. This book surveys the interconnecting elements of Roni Horn's long-term project on the island through a series of image sequences and texts. It also includes a selection of writings by the artist inspired by her experience of being in Iceland.
In The Aesthetic Clinic, Fernanda Negrete brings together contemporary women writers and artists well known for their formal experimentation—Louise Bourgeois, Sophie Calle, Lygia Clark, Marguerite Duras, Roni Horn, and Clarice Lispector—to argue that the aesthetic experiences afforded by their work are underwritten by a tenacious and uniquely feminine ethics of desire. To elaborate this ethics, Negrete looks to notions of sublimation and feminine sexuality developed by Freud, Baudelaire, Mallarmé, and Nietzsche, and their reinvention with and after Jacques Lacan, including in the schizoanalysis of Gilles Deleuze and Félix Guattari. But she also highlights how psychoanalytic theory draws on writing and other creative practices to conceive of unconscious processes and the transformation sought through analysis. Thus, the "aesthetic clinic" of the book's title (a term Negrete adopts from Deleuze) is not an applied psychoanalysis or schizoanalysis. Rather, The Aesthetic Clinic privileges the call and constraints issued by each woman's individual work. Engaging an artwork here is less about retrieving a hidden meaning through interpretation than about receiving a precise transmission of sensation, a jouissance irreducible to meaning. Not only do art and literature serve an urgent clinical function in Negrete's reading but sublimation itself requires an embrace of femininity.
Restless, protean, fluid, evanescent—despite being a challenge to represent visually, water has gained a striking significance in the art of the twentieth century. This may be due to the fact that it allows for a range of metaphorical meanings, many of which are particularly appropriate to the modern age. Water is not merely a subject of contemporary art, but also a material increasingly used in art-making, giving it a distinct dual presence. Water and Art probes the ways in which water has gained an unprecedented prominence in modern Western art and seeks to draw connections to its depiction in earlier art forms. David Clarke looks across cultures, finding parallels within contemporary Chinese art, which draws on a cultural tradition in which water has an essential presence and is used as both a subject and a medium. The book features a wealth of images by artists from East and West, including Fu Baoshi, Shi Tao, Wei Zixi, Fang Rending, Leonardo da Vinci, Bernini, Turner, Gericault, Klee, Matisse, Monet, Picasso, Mondrian, and Kandinsky. Fast-paced, accessible, and comprehensive, Water and Art will appeal to the specialist and the general reader alike, offering fresh perspectives on familiar artists as well as an introduction to others who are less well-known.
This book brings together a collection of essays from scholars and cultural critics working on the meanings of monuments and memorials in the second decade of the twenty-first century, a time of great social and political change.
This book challenges conventional notions of the Anthropocene and champions the Hydrocene: the Age of Water. It presents the Hydrocene as a disruptive, conceptual epoch and curatorial theory, emphasising water's pivotal role in the climate crisis and contemporary art. The Hydrocene is a wet ontological shift in eco-aesthetics which redefines our approach to water, transcending anthropocentric, neo-colonial and environmentally destructive ways of relating to water. As the most fundamental of elements, water has become increasingly politicised, threatened and challenged by the climate crisis. In response, The Hydrocene articulates and embodies the distinctive ways contemporary artists relate and engage with water, offering valuable lessons towards climate action. Through five compelling case studies across swamp, river, ocean, fog and ice, this book binds feminist environmental humanities theories with the practices of eco-visionary artists. Focusing on Nordic and Oceanic water-based artworks, it demonstrates how art can disrupt established human–water dynamics. By engaging hydrofeminist, care-based and planetary thinking, The Hydrocene learns from the knowledge and agency of water itself within the tide of art going into the blue. The Hydrocene urgently highlights the transformative power of eco-visionary artists in reshaping human–water relations. At the confluence of contemporary art, curatorial theory, climate concerns and environmental humanities, this book is essential reading for researchers, curators, artists, students and those seeking to reconsider their connection with water and advocate for climate justice amid the ongoing natural-cultural water crisis.
Contemporary arts, both practice and methods, offer medieval scholars innovative ways to examine, explore, and reframe the past. Medievalists offer contemporary studies insights into cultural works of the past that have been made or reworked in the present. Creative-critical writing invites the adaptation of scholarly style using forms such as the dialogue, short essay, and the poem; these are, the authors argue, appropriate ways to explore innovative pathways from the contemporary to the medieval, and vice versa. Speculative and non-traditional, The Contemporary Medieval in Practice adapts the conventional scholarly essay to reflect its cross-disciplinary, creative subject. This book ‘does’ Medieval Studies differently by bringing it into relation with the field of contemporary arts and by making ‘practice’, in the sense used by contemporary arts and by creative-critical writing, central to it. Intersecting with a number of urgent critical discourses and cultural practices, such as the study of the environment and the ethics of understanding bodies, identities, and histories, this short, accessible book offers medievalists a distinctive voice in multi-disciplinary, trans-chronological, collaborative conversations about the Humanities. Its subject is early medieval British culture, often termed Anglo-Saxon Studies (c. 500–1100), and its relation with, use of, and re-working in contemporary visual, poetic, and material culture (after 1950). ‘The Contemporary Medieval in Practice is both wise and unafraid to take risks. Fully embedded in scholarship yet reaching into unmapped territory, the authors move across disciplines and forge surprising links. Thought-provoking and evocative, this is a book that will have an impact that far belies its modest length.’ – Linda Anderson, Newcastle University
In Climate Change and the New Polar Aesthetics, Lisa E. Bloom considers the ways artists, filmmakers, and activists engaged with the Arctic and Antarctic to represent our current environmental crises and reconstruct public understandings of them. Bloom engages feminist, Black, Indigenous, and non-Western perspectives to address the exigencies of the experience of the Anthropocene and its attendant ecosystem failures, rising sea levels, and climate-led migrations. As opposed to mainstream media depictions of climate change that feature apocalyptic spectacles of distant melting ice and desperate polar bears, artists such as Katja Aglert, Subhankar Banerjee, Joyce Campbell, Judit Hersko, Roni Horn, Isaac Julien, Zacharias Kunuk, Connie Samaras, and activist art collectives take a more complex poetic and political approach. In their films and visual and conceptual art, these artists link climate change to its social roots in colonialism and capitalism while challenging the suppression of information about environmental destruction and critiquing Western art institutions for their complicity. Bloom’s examination and contextualization of new polar aesthetics makes environmental degradation more legible while demonstrating that our own political agency is central to imagining and constructing a better world.
Dedicated to an articulation of the earth from broadly ecological perspectives, eco art is a vibrant subset of contemporary art that addresses the widespread public concern with rapid climate change and related environmental issues. In Landscape into Eco Art, Mark Cheetham systematically examines connections and divergences between contemporary eco art, land art of the 1960s and 1970s, and the historical genre of landscape painting. Through eight thematic case studies that illuminate what eco art means in practice, reception, and history, Cheetham places the form in a longer and broader art-historical context. He considers a wide range of media—from painting, sculpture, and photography to artists’ films, video, sound work, animation, and installation—and analyzes the work of internationally prominent artists such as Olafur Eliasson, Nancy Holt, Mark Dion, and Robert Smithson. In doing so, Cheetham reveals eco art to be a dynamic extension of a long tradition of landscape depiction in the West that boldly enters into today’s debates on climate science, government policy, and our collective and individual responsibility to the planet. An ambitious intervention into eco-criticism and the environmental humanities, this volume provides original ways to understand the issues and practices of eco art in the Anthropocene. Art historians, humanities scholars, and lay readers interested in contemporary art and the environment will find Cheetham’s work valuable and invigorating.