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The Arts

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Toward a New Aesthetic Paradigm

In this book, Tim Hodgkinson proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information—biological and cultural—collide. It is only when we acknowledge the clash of body and language within human identity that we can understand how art brings forth the special form of subjectivity potentially present in aesthetic experiences.

Edited by Gwen Allen

The multiple platforms of the digital era have not diminished the role of the magazine for artists as an alternative medium and experimental space. Whether printed on paper or electronically generated, the artist’s magazine continues to be a place where new ideas and forms can be imagined as well as a significant site of artistic production. Intrinsically collaborative, including readers’ active engagement, the magazine is an inherently open form that generates constantly evolving relationships.

Edited by David J. Getsy

Historically, “queer” was the slur used against those who were perceived to be or made to feel abnormal. Beginning in the 1980s, “queer” was reappropriated and embraced as a badge of honor. While queer draws its politics and affective force from the history of non-normative, gay, lesbian, and bisexual communities, it is not equivalent to these categories, nor is it an identity. Rather, it offers a strategic undercutting of the stability of identity and of the dispensation of power that shadows the assignment of categories and taxonomies.

Artists as Cartographers

From Guy Debord in the early 1950s to Richard Long, Janet Cardiff, and Esther Polak more recently, contemporary artists have returned again and again to the walking motif. Today, the convergence of global networks, online databases, and new tools for mobile mapping coincides with a resurgence of interest in walking as an art form. In Walking and Mapping, Karen O’Rourke explores a series of walking/mapping projects by contemporary artists.

Contemporary art in the early twenty-first century is often discussed as if the very idea of art that is contemporary is new. Yet all works of art were once contemporary. In What Was Contemporary Art? Richard Meyer reclaims the contemporary from historical amnesia, and gives the contemporary its own art history.

In a career that spanned five decades, most of them spent in San Francisco, Bruce Conner (1933–2008) produced a unique body of work that refused to be contained by medium or style. Whether making found-footage films, hallucinatory ink-blot graphics, enigmatic collages, or assemblages from castoffs, Conner took up genres as quickly as he abandoned them. In this first book-length study of Conner’s enormously influential but insufficiently understood career, Kevin Hatch explores Conner’s work as well as his position on the geographical, cultural, and critical margins.

Edited by Jennifer King

During a career that spanned more than forty years, from the late 1960s until his death in 2012, Michael Asher created site-specific installations and institutional interventions that examined the conditions of art’s production, display, and reception. At the Art Institute of Chicago, for example, he famously relocated a bronze replica of an eighteenth-century sculpture of George Washington from the museum’s entrance to an interior gallery, thereby highlighting the disjunction between the statue’s symbolic function as a public monument and its aesthetic origins as an artwork.

A maker of visually elegant and conceptually intricate games, Jason Rohrer is among the most widely heralded art game designers in the short but vibrant history of the field. His games range from the elegantly simple to others of almost Byzantine complexity. Passage (2007)—acquired by the Museum of Modern Art in New York—uses game rules and procedurals to create a contemporary memento mori that captures an entire lifetime in five minutes. In Chain World (2011), each subsequent player of the game’s single copy modifies the rules of the universe.

The World of Clifford Ross

From the romantic, highly detailed realism of his large-scale “Mountain” photographs to multimedia pieces that embrace abstract forms drawn from close observation of nature, Clifford Ross’s work is unlike any other. In 2002, Ross invented his R1 camera, with which he has produced some of the highest resolution single shot photographs ever realized. In a Ross landscape, viewers can spot a bird in a tree on a mountain a mile away. Ross’s longstanding desire to reconcile realism and abstraction in his art intensified when he took up photography in the mid-1990s.

Photography matters, writes Jerry Thompson, because of how it works—not only as an artistic medium but also as a way of knowing. With this provocative observation, Thompson begins a wide-ranging and lucid meditation on why photography is unique among the picture-making arts.

  • Page 4 of 65