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Essential essays on art in our current era from one of the most important art critics writing today.
It is a peculiar moment for art, as it becomes both increasingly rarefied and associated with elite lifestyle culture, while simultaneously ubiquitous, with the boom of "creative" industries and the proliferation of new technologies for making art. In these important essays, Ben Davis covers everything from Instagram to artificial intelligence, eco-art to cultural appropriation. Critical, insightful, and hopeful even in the face of the apocalyptic, this is a must read for those looking to understand the current art world, as well as the role of the artist in the world today.
Art for everyone--the Federal Art Project's drive for middlebrow visual culture and identity
Examining Tony Conrad's collaborative interactions as a guiding thread by which to investigate the contiguous networks and discursive interconnections in 1960s art. Tony Conrad has significantly influenced cultural developments from minimalism to underground film, "concept art," postmodern appropriation, and the most sophisticated rock and roll. Creator of the "structural" film, The Flicker, collaborator on Jack Smith's Flaming Creatures and Normal Love, follower of Henry Flynt's radical anti-art, member of the Theatre of Eternal Music and the first incarnation of The Velvet Underground, and early associate of Mike Kelley, Tony Oursler, and Cindy Sherman, Conrad has eluded canonic histories. Yet Beyond the Dream Syndicate does not claim Conrad as a major but under-recognized figure. Neither monograph nor social history, the book takes Conrad's collaborative interactions as a guiding thread by which to investigate the contiguous networks and discursive interconnections in 1960s art. Such an approach simultaneously illuminates and estranges current understandings of the period, redrawing the map across medium and stylistic boundaries to reveal a constitutive hybridization at the base of the decade's artistic development. This exploration of Conrad and his milieu goes beyond the presentation of a relatively overlooked oeuvre to chart multiple, contestatory regimes of power simultaneously in play during the pivotal moment of the 1960s. From the sovereign authority invoked by Young's music, to the "paranoiac" politics of Flynt, to the immanent control modeled by Conrad's films, each avant-garde project examined reveals an investment within a particular structure of power and resistance, providing a glimpse into the diversity of the artistic and political stakes that continue to define our time.
This collection of seventy-three letters written in 2020 captures an unprecedented moment in politics and society through the experiences of Asian-American artists, curators, educators, art historians, editors, writers, and designers. The form of the letter offers readers intimate insights into the complexities of Asian American experiences, moving beyond the model-minority myth. Chronicling everyday lives, dreams, rage, family histories, and cultural politics, these letters ignite new ways of being, and modes of creating, at a moment of racial reckoning.
Why has identity become so central to judging art today? Why are some groups reluctant to defend free speech within culture? Has state support made artists poorer not richer? How does the movement for social justice influence cultural production? Why is Post-Modernism dominant in the art world? Why are consumers of comic books so bitterly divided? In Culture War: Art, Identity Politics and Cultural Entryism Alexander Adams examines a series of pressing issues in today's culture: censorship, Islamism, Feminism, identity politics, historical reparations and public arts policy. Through a series of linked essays, Culture War exposes connections between seemingly unrelated events and trends in high and popular cultures. From fine art to superhero comics, from political cartoons to museum policy, certain persistent ideas underpin the most contentious issues today. Adams draws on history, philosophy, politics and cultural criticism to explain the reasoning of creators, consumers and critics and to expose some uncomfortable truths.
Van Jones said it well: "If we're going to end this fiscal madness and start rebuilding America, we're going to have to get creative We need a tsunami of music, film, poetry and art. The Culture of Possibility shows us how creativity can take our story back from Corporation Nation, tilting the culture towards justice, equity, and innovation. I urge you to read this book " We are in the midst of seismic cultural change. In the old paradigm, priorities are shaped by a mechanistic worldview that privileges whatever can be numbered, measured, and weighed; human beings are pressured to adapt to the terms set by their own creations. How we feel, how we connect, how we spend our time, how we make our way and come to know each other-these are all part of the scenery. In the new paradigm, things are given their true value. People care passionately about how they and the things they value are depicted. They revive themselves after a long workday with music or dance, by making something beautiful for themselves or their loved ones, by expressing their deepest feelings in poetry or watching a film that never fails to comfort. In the new paradigm, it is understood that culture prefigures economics and politics; it molds markets; and it expresses and embodies the creativity and resilience that are the human species' greatest strengths. The bridge between paradigms is being built by artists and others who have learned to deploy artists' cognitive, imaginative, empathic, and narrative skills. The bridge is made of the stories that the old paradigm can't hear, the lives that it doesn't count, the imagined future it can't encompass. Using first-person stories, drawing on both history and headlines, embracing new knowledge from education, medicine, cognitive science, spirituality, politics, and other realms, The Culture of Possibility shows why, how, and where we can build a bridge to a sustainable future.
Reclaiming public life from the ideologies of both communist regimes and neoliberalism, their projects have harnessed the politically subversive potential of social relations based on trust, reciprocity and solidarity. Drawing on archival material and exclusive interviews, in this book Izabel Galliera traces the development of socially engaged art from the early 1990s to the present in Bulgaria, Hungary and Romania. She demonstrates that, in the early 1990s, projects were primarily created for exhibitions organized and funded by the Soros Centers for Contemporary Art. In the early 2000s, prior to Bulgaria, Hungary and Romania entering into the European Union, EU institutions likewise funded socially-conscious public art in the region. Today, socially engaged art is characterised by the proliferation of independent and often self-funded artists' initiatives in cities such as Sofia, Bucharest and Budapest.Focusing on the relationships between art, social capital and civil society, Galliera employs sociological and political theories to reveal that, while social capital is generally considered a mechanism of exclusion in the West, in post-socialist contexts it has been leveraged by artists and curators as a vital means of communication and action.
Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium. John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich
This book explores the effects of the Instagram platform on the making and viewing of art. Authors Lachlan MacDowall and Kylie Budge critically analyse the ways Instagram has influenced artists, art spaces, art institutions and art audiences, and ultimately contemporary aesthetic experience. The book argues that more than simply being a container for digital photography, the architecture of Instagram represents a new relationship to the image and to visual experience, a way of shaping ocular habits and social relations. Following a detailed analysis of the structure of Instagram – the tactile world of affiliation (‘follows’), aesthetics (‘likes’) and attention (‘comments’) – the book examines how art spaces, audiences and aesthetics are key to understanding its rise. The book will be of interest to scholars working in art history, design, digital culture, cultural studies, sociology, education, business, media and communication studies.