A Companion to Contemporary Art is a major survey covering the major works and movements, the most important theoretical developments, and the historical, social, political, and aesthetic issues in contemporary art since 1945, primarily in the Euro-American context.
- Collects 27 original essays by expert scholars describing the current state of scholarship in art history and visual studies, and pointing to future directions in the field.
- Contains dual chronological and thematic coverage of the major themes in the art of our time: politics, culture wars, public space, diaspora, the artist, identity politics, the body, and visual culture.
- Offers synthetic analysis, as well as new approaches to, debates central to the visual arts since 1945 such as those addressing formalism, the avant-garde, the role of the artist, technology and art, and the society of the spectacle.
Spis treści
List of Figures ix
Notes on Contributors xiv
Series Editor’s Preface xviii
Acknowledgments xix
Part I: Introduction 1
1 Writing Contemporary Art into History, a Paradox? 3
Amelia Jones
Part II: Decades 17
1945–60
2 “America” and its Discontents: Art and Politics 1945–60 19
Gavin Butt
1960–70
3 The 1960s: A Decade Out-of-Bounds 38
Anna Dezeuze
1970–80
4 “I’m sort of sliding around in place . . . ummm . . .”: Art in the 1970s 60
Sam Gathercole
1980–90
5 Pictures and Positions in the 1980s 83
Howard Singerman
1990–2005
6 1990–2005: In the Clutches of Time 107
Henry M. Sayre
Part III: Aesthetics 125
Formalism
7 Form and Formless 127
Caroline A. Jones
Art as Idea
8 Re-Thinking the “Duchamp Effect” 145
David Hopkins
Beauty
9 Regarding Beauty 164
Margaret Morgan
Part IV: Politics 189
Avant-Garde
10 Avant-Garde: A Historiography of a Critical Concept 191
Johanne Lamoureux
Activism
11 Facture for Change: US Activist Art since 1950 212
Jennifer González and Adrienne Posner
Culture Wars
12 “The Senators Were Revolted”: Homophobia and the Culture Wars 231
Jonathan D. Katz
Art and Its Public(s)
13 Crowds and Connoisseurs: Art and the Public Sphere in America 249
Grant Kester
Part V: Identity/Subjectivity 269
The Artist
14 The Writerly Artist: Beautiful, Boring, and Blue 271
Carol Mavor
Diaspora
15 Diaspora: Multiple Practices, Multiple Worldviews 296
Steven Nelson
Feminism
16 Power and Pleasure: Feminist Art Practice and Theory in the United States and Britain 317
Laura Meyer
Queer
17 Queer Wallpaper 343
Jennifer Doyle
Race/Ethnicity
18 Implications of Blackness in Contemporary Art 356
Pauline de Souza
Embodiment
19 The Paradoxical Bodies of Contemporary Art 378
Christine Ross
Part VI: Methods/Theories 401
Marxism
20 A Shadow of Marx 403
Neil Cummings and Marysia Lewandowska
Poststructuralism
21 Poststructuralism and Contemporary Art, Past, Present, Future . . . 424
Sarah Wilson
Postcolonial Theory
22 “Fragments of Collapsing Space”: Postcolonial Theory and Contemporary Art 450
Mark Crinson
Visual Culture
23 Visual Culture Studies: Questions of History, Theory, and Practice 470
Marquard Smith
Part VII: Technology 491
Mass Culture, High/Low
24 “That’s All Folks”: Contemporary Art and Popular Culture 493
Nick Mirzoeff
Photography/Index
25 Image + Text: Reconsidering Photography in Contemporary Art 512
Liz Kotz
Spectacle/Appropriation
26 Imagine There’s No Image (It’s Easy If You Try): Appropriation in the Age of Digital Reproduction 534
Dore Bowen
Digital Media
27 “Life-like”: Historicizing Process and Responsiveness in Digital Art 557
María Fernández
Index 582
O autorze
Amelia Jones is Pilkington Professor in the History of Art at the University of Manchester. She has curated many exhibitions and is the author of
Postmodernism and the En-Gendering of Marcel Duchamp (1994),
Body Art/Performing the Subject (1998), and
Irrational Modernism: A Neurasthenic History of New York Dada
(2004).
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