Leading art critic explores the connections between art’s past and present Contemporary art sometimes pretends to have made a clean break with history. In The Perpetual Guest, poet and critic Barry Schwabsky demonstrates that any robust understanding of art’s present must also account for the ongoing life and changing fortunes of its past. Surveying the art world of recent decades, Schwabsky attends not only to its most significant newer faces—among them, Kara Walker, Thomas Hirschhorn, Ai Weiwei, Chris Ofili, and Lorna Simpson—but their forebears as well, both near (Jeff Wall, Nancy Spero, Dan Graham, Cindy Sherman) and more distant (Velázquez, Manet, Matisse, and the portraitists of the Renaissance). Schwabsky’s rich and subtle contributions illuminate art’s present moment in all its complexity: shot through with determinations produced by centuries of interwoven traditions, but no less open-ended for it.
Leading art critic explores the connections between art’s past and present Contemporary art sometimes pretends to have made a clean break with history. In The Perpetual Guest, poet and critic Barry Schwabsky demonstrates that any robust understanding of art’s present must also account for the ongoing life and changing fortunes of its past. Surveying the art world of recent decades, Schwabsky attends not only to its most significant newer faces—among them, Kara Walker, Thomas Hirschhorn, Ai Weiwei, Chris Ofili, and Lorna Simpson—but their forebears as well, both near (Jeff Wall, Nancy Spero, Dan Graham, Cindy Sherman) and more distant (Velázquez, Manet, Matisse, and the portraitists of the Renaissance). Schwabsky’s rich and subtle contributions illuminate art’s present moment in all its complexity: shot through with determinations produced by centuries of interwoven traditions, but no less open-ended for it.
A dynamic overview of the best new contemporary painting from around the world. The first volume of Vitamin P, published in 2002, inaugurated a vibrant period for painting. Since its publication, a whole new generation of painters has emerged, some inspired by the artists who appeared in that book, others taking cues from new sources. Vitamin P2 introduces this new wave of painters to the world. The vast medium of painting continues to be a central pillar of artistic practice, and Vitamin P2 presents the outstanding artists who are currently engaging with and pushing the boundaries of the medium. Over 80 international critics, artists and curators have nominated the 115 artists who have made a fresh, unique or innovative contribution to recent painting. All of the artists in Vitamin P2 have recently emerged onto the international scene, and none appeared in the first Vitamin P. An introduction by Barry Schwabsky, who also wrote the introduction for Vitamin P, provides a broad overview of recent developments in the medium while also looking towards its future.
Who Runs the Artworld: Money, Power and Ethics examines the economics and mythologies of today s global artworld. It unmasks the complex web of relationships that now exist among high-profile curators, collectors, museum trustees and corporate sponsors, and the historic and ongoing complicity between the art and money markets. The book examines alternative models being deployed by curators and artists influenced by the 2008 global financial crisis and the international socio-political Occupy movement, with a particular focus on a renewed activism by artists. This activism is coupled with an institutional and social critique led by groups such as Liberate Tate, the Precarious Workers Brigade and Strike Debt. Who Runs the Artworld: Money, Power and Ethics brings together a diverse range of thinkers who draw on the disciplines of art theory, social sciences and cultural economics, and curatorship and the lived experience of artists. The contributors to this book are, in their respective contexts, working at the forefront of these compelling issues.
This accessible guide will help studio art and design professors meaningfully and effectively transform their curriculum and pedagogy so that it is relevant to today’s learners. Situating contemporary college teaching within a historic art and design continuum, the author provides a practical framework for considering complex interactions within art and design pedagogy. Readers will gain a deeper appreciation of college students and their learning, an understanding of teaching repertoires, and insight into the local and global contexts that impact teaching and learning and how these are interrelated with studio content. Throughout, Salazar expertly weaves research, theory, and helpful advice that instructors can use to enact a mode of teaching that is responsive to their unique environment. The text examines a variety of educational practices, including reflection, critique, exploration, research, student-to-student interaction, online teaching, intercultural learning, and community-engaged curricula. Book Features: A clear introduction to research and theory in college learning and art education.A response to the current shift from studio practice to an investment in teaching practice.Reflective prompts, actions, teaching strategies, and recommended resources.User-friendly templates ready to customize for the reader’s own content.
The most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time. In the last fifty years, art criticism has flourished as never before. Moving from niche to mainstream, it is now widely taught at universities, practiced in newspapers, magazines, and online, and has become the subject of debate by readers, writers, and artists worldwide. Equal parts oral history and analysis of craft, What It Means to Write About Art offers an unprecedented overview of American art writing. These thirty in-depth conversations chart the role of the critic as it has evolved from the 1960s to today, providing an invaluable resource for aspiring artists and writers alike. John Ashbery recalls finding Rimbaud’s poetry through his first gay crush at sixteen; Rosalind Krauss remembers stealing the design of October from Massimo Vignelli; Paul Chaat Smith details his early days with Jimmy Durham in the American Indian Movement; Dave Hickey talks about writing country songs with Waylon Jennings; Michele Wallace relives her late-night and early-morning interviews with James Baldwin; Lucy Lippard describes confronting Clement Greenberg at a lecture; Eileen Myles asserts her belief that her negative review incited the Women’s Action Coalition; and Fred Moten recounts falling in love with Renoir while at Harvard. Jarrett Earnest’s wide-ranging conversations with critics, historians, journalists, novelists, poets, and theorists—each of whom approach the subject from unique positions—illustrate different ways of writing, thinking, and looking at art. Interviews with Hilton Als, John Ashbery, Bill Berkson, Yve-Alain Bois, Huey Copeland, Holland Cotter, Douglas Crimp, Darby English, Hal Foster, Michael Fried, Thyrza Nichols Goodeve, Dave Hickey, Siri Hustvedt, Kellie Jones, Chris Kraus, Rosalind Krauss, Lucy Lippard, Fred Moten, Eileen Myles, Molly Nesbit, Jed Perl, Barbara Rose, Jerry Saltz, Peter Schjeldahl, Barry Schwabsky, Paul Chaat Smith, Roberta Smith, Lynne Tillman, Michele Wallace, and John Yau.
Since 2000, The Brooklyn Rail has been a platform for artists, academics, critics, poets, and writers in New York and abroad. The monthly journal’s continued appeal is due in large part to its diverse contributors, many of whom bring contrasting and often unexpected opinions to conversations about art and aesthetics. No other publication devotes as much space to the artist’s voice, allowing ideas to unfold and idiosyncrasies to emerge through open discussion. Since its inception, cofounder and artistic director Phong Bui and the Rail’s contributors have interviewed over four hundred artists for The Brooklyn Rail. This volume brings together for the first time a selection of sixty of the most influential and seminal interviews with artists ranging from Richard Serra and Brice Marden, to Alex Da Corte and House of Ladosha. While each interview is important in its own right, offering a perspective on the life and work of a specific artist, collectively they tell the story of a journal that has grown during one of the more diverse and surprising periods in visual art. There is no unified style or perspective; The Brooklyn Rail’s strength lies in its ability to include and champion difference. Selected and coedited by Jarrett Earnest, a frequent Rail contributor, with Lucas Zwirner, the book includes an introduction to the project by Phong Bui as well as many of the hand-drawn portraits he has made of those he has interviewed over the years. This combination of verbal and visual profiles offers a rare and personal insight into contemporary visual culture. Interviews with Vito Acconci, Ai Weiwei, Lynda Benglis, James Bishop, Chris Burden, Vija Celmins, Francesco Clemente, Bruce Conner, Alex Da Corte, Rosalyn Drexler, Keltie Ferris, Simone Forti, Andrea Fraser, LaToya Ruby Frazier, Suzan Frecon, Coco Fusco, Robert Gober, Leon Golub, Ron Gorchov, Michelle Grabner, Josephine Halvorson, Sheila Hicks, David Hockney, Roni Horn, House of Ladosha, Alfredo Jaar, Bill Jensen, Alex Katz, William Kentridge, Matvey Levenstein, Nalini Malani, Brice Marden, Chris Martin, Jonas Mekas, Shirin Neshat, Thomas Nozkowski, Lorraine O’Grady, Genesis Breyer P-Orridge, Joanna Pousette-Dart, Ernesto Pujol, Martin Puryear, Walid Raad, Dorothea Rockburne, Tim Rollins and K.O.S., Robert Ryman, Dana Schutz, Richard Serra, Shahzia Sikander, Nancy Spero, Hiroshi Sugimoto, Sarah Sze, Rirkrit Tiravanija, James Turrell, Richard Tuttle, Luc Tuymans, Kara Walker, Stanley Whitney, Jack Whitten, Yan Pei-Ming, and Lisa Yuskavage Special thanks to Furthermore, a program of the J.M. Kaplan Fund, for their support of The Brooklyn Rail.
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 the role of the curator, the art and science of curating, and the historical arc of the field from the 17th century to the present. The Companion explores topics such as global developments in contemporary indigenous art, Asian and Chinese art since the 1980s, feminist and queer feminist curatorial practices, and new curatorial strategies beyond the museum. This unique volume: Offers readers a wide range of perspectives on curating in both theory and practice Includes coverage of curation outside of the Eurocentric and Anglosphere art worlds Presents clear and comprehensible information valuable for specialists and novices alike Discusses the movements, models, people and politics of curating Provides guidance on curating in a globalized world Broad in scope and detailed in content, A Companion to Curation is an essential text for professionals engaged in varied forms of curation, teachers and students of museum studies, and readers interested in the workings of the art world, museums, benefactors, and curators.
Building can be seen as a master metaphor for modernity, which some great irresistible force, be it Fascism or Communism or capitalism, is always busy rebuilding, and Houses is a book about a man, Arsénie Negovan, who has devoted his life and his dreams to building. Bon vivant, Francophile, visionary, Negovan spent the first half of his life building houses he loved and even named—Juliana, Christina, Agatha—while making his hometown of Belgrade into a modern city to be proud of. The second half of his life, after World War II and the Nazi occupation, he has spent in one of those houses, looked after by his wife and a nurse, in hiding. Houses is set on the final day of his life, when Negovan at last ventures forth to see the world as it is. Negovan is one of the great characters in modern fiction, a man of substance and a deluded fantasist, a beguiling visionary and a monster of selfishness, a charmer no matter what. And perhaps he is right to fear that home is only an illusion in our world, or that only in illusion is there home.
A major, career-spanning collection of an Italian master's poetry in English, gathered together for the first time. Amelia Rosselli is one of the great poets of postwar Italy. She was also a musician and musicologist, close to John Cage and Karlheinz Stockhausen, and she waged a lifelong battle against depression. The child of Carlo Rosselli, a significant anti-fascist intellectual who was assassinated with his brother Nello in 1937, Amelia grew up in exile and attended high school in Mamaroneck, New York. English poetry, especially the lyrics and sonnets of Shakespeare and the Elizabethans, became a prime reference for her own poetry, which combines modernist experimentation with variations on more traditional forms. The elaborate, archaic, yet thoroughly modern poems, at once stumbling and singing, that Rosselli composed in English and gathered under the title Sleep are a beautiful and illuminating part of her work. Six of the poems were published by John Ashbery in the 1960s but have otherwise been unavailable to English readers. They are published here for the first time outside of Italy.
