This book will be an original and indispensable resource for all who believe in the importance of art in the wider educational realm. Framing the recent "educational turn" in the arts within a broad historical and social context, this anthology raises fundamental questions about how and what should be taught in an era of distributive rather than media-based practices.
The "ruins" of the modern era are the landmarks of recent art’s turn toward site and situation, history and memory. The abiding interest of artists in ruination and decay has led in particular to the concept of the modern ruin--an ambiguous site of artistic and architectural modernism, personal and collective memories, and the cultural afterlife of eras such as those of state communism and colonialism.
We are surrounded by images as never before: on Flickr, Facebook, and YouTube; on thousands of television channels; in digital games and virtual worlds; in media art and science. Without new efforts to visualize complex ideas, structures, and systems, today’s informatio explosion would be unmanageable. The digital image represents endless options for manipulation; images seem capable of changing interactively or even autonomously. This volume offers systematic and interdisciplinary reflections on these new image worlds and new analytical approaches to the visual.
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.