To the extent that Chinese contemporary art has become a global phenomenon, it is largely through the groundbreaking exhibitions curated by Gao Minglu: "China/Avant-Garde" (Beijing, 1989), "Inside Out: New Chinese Art" (Asia Society, New York, 1998), and "The Wall: Reshaping Contemporary Chinese Art" (Albright-Knox Art Gallery, 2005) among them.
In 2006, even though he could barely type, China's most famous artist started blogging. For more than three years, Ai Weiwei turned out a steady stream of scathing social commentary, criticism of government policy, thoughts on art and architecture, and autobiographical writings.
In 2008, Asia stormed the citadel of the New York art world when two major museums presented retrospectives of Asian contemporary artists: Cai Guo-Qiang at the Guggenheim Museum and Takashi Murakami at the Brooklyn Museum. Meanwhile, in Hong Kong, a painting by Zeng Fanzhi sold for $9.5 million, setting a new world auction record for Chinese contemporary art. The Western art world is still coming to grips with the challenge: it is all about Asia now.
In the mid-1980s, the Canadian art group General Idea (AA Bronson, Felix Partz, and Jorge Zontal) created a symbol using the acronym AIDS, arranging the letters in a manner that resembled Robert Indiana's famous LOVE logo. This launched Imagevirus, a project of paintings, sculptures, videos, posters, and exhibitions that investigated the term AIDS as both word and image, using the mechanism of viral transmission. The Imagevirus spread like a virus, producing an image epidemic in urban spaces from Manhattan to Sydney.
When recession-plagued New York City abandoned its industrial base in the 1970s, performance artists, photographers, and filmmakers found their own mixed uses for the city's run-down lofts, abandoned piers, vacant lots, and deserted streets.
In both classical Islamic art and contemporary new media art, one point can unfold to reveal an entire universe. A fourteenth-century dome decorated with geometric complexity and a new media work that shapes a dome from programmed beams of light: both can inspire feelings of immersion and transcendence. In Enfoldment and Infinity, Laura Marks traces the strong similarities, visual and philosophical, between these two kinds of art.
Michael Asher doesn’t make typical installations. Instead, he extracts his art from the institutions in which it is shown, culling it from collections, histories, or museums’ own walls. Since the late 1960s, Asher has been creating situations that have not only taught us about the conditions and contexts of contemporary art, but have worked to define it.
The chance situation or random event—whether as a strategy or as a subject of investigation—has been central to many artists' practices across a multiplicity of forms, including expressionism, automatism, the readymade, collage, surrealist and conceptual photography, fluxus event scores, film, audio and video, performance, and participatory artworks. But why—a century after Dada and Surrealism's first systematic enquiries—does chance remain a key strategy in artists' investigations into the contemporary world?
This eye-popping book offers a visual history of the psychedelic sensibility. In pop culture, that sensibility is associated with lava lamps, album covers, and "teashades," but it first manifested itself in the extreme colors and kaleidoscopic compositions of 1960s Op Artists.
In the contemporary world, where technology, spectacle, and excess seem to eclipse nature, the individual, and society, what might be the characteristics of a contemporary sublime? If there is any consensus, it is in the idea that the sublime represents a testing of limits to the point at which fixities begin to fragment. This anthology examines how contemporary artists and theorists explore ideas of the sublime, in relation to the unpresentable, transcendence, terror, nature, technology, the uncanny, and altered states.