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"This book examines contemporary feminist visual activism(s) through the lens of embodiment(s). The contributors explore how the arts articulate and engage with the current sense of crisis and political concerns (e.g. equality, decolonization, social justice, democracy, precarity, vulnerability), negotiated with and through the body. Drawing upon the legacy of feminist art historical critique, the book scrutinizes activist strategies, practices, and resilience techniques in intersectional and transnational frameworks. It interrogates how the arts enable the creation of civil and political resilience, become engaged with politics as a response to disaster capitalism, and attempt to reform and improve society. The book will be of interest to scholars working in art history, visual culture, fine arts, women's studies, gender studies, feminism, and cultural studies"--

In Artist, Audience, Accomplice, Sydney Stutterheim introduces a new figure into the history of performance art and related practices of the 1970s and 1980s: the accomplice. Occupying roles including eyewitness, romantic partner, studio assistant, and documenter, this figure is situated between the conventional subject positions of the artist and the audience. The unseen and largely unacknowledged contributions of such accomplices exceed those performed by a typical audience because they share in the responsibility for producing artworks that entail potential ethical or legal transgressions. Stutterheim analyzes the art of Chris Burden, Hannah Wilke, Martin Kippenberger, and Lorraine O'Grady, showing how each cannily developed strategies of shared culpability that evoked questions about the accomplice's various rights and roles. In this way, Stutterheim argues that the artist's authority is not sovereign, total, or exclusive but, rather, fluid and relational. By examining the development of an alternative model of participatory art that relies on a network of accomplices, Stutterheim radically revises current understandings of artistic agency, aesthetic property, and acknowledged authorship

This book examines the art of Cobra, a network of poets and artists from Copenhagen, Brussels, and Amsterdam (1948-1951). Although the name stood for the organizers' home cities, the Cobra artists hailed from countries in Europe, Africa, and the United States. This book investigates how a group of struggling young artists attempted to reinvent the international avant-garde after the devastation of the Second World War, to create artistic experiments capable of facing the challenges of postwar society. It explores how Cobra's experimental, often collective art works and publications relate to broader debates in Europe about the use of images to commemorate violent events, the possibility of free expression in an art world constrained by Cold War politics, the breakdown of primitivism in an era of colonial independence movements, and the importance of spontaneity in a society increasingly dominated by the mass media. This book will be of interest to scholars in art history, 20th-century modern art, avant-garde arts, and European history.

Art=Text=Art: Works by Contemporary Artists Wednesday, August 17 to Sunday, October 16, 2011Joel and Lila Harnett Museum of Art On view in the Harnett Museum of Art, University of Richmond Museums, from August 17 to October 16, 2011, Art=Text=Art: Works by Contemporary Artists features 72 works created between 1960 and 2011, that include text or reference textual elements. Many of the works reflect developments in modern and contemporary art and critical theory, and relate to concurrent politics, history, and philosophy. Among the more than 40 artists included in the exhibition are Alice Aycock, Trisha Brown, Dan Flavin, Jane Hammond, Jasper Johns, Sol LeWitt, Ed Ruscha, Karen Schiff, Cy Twombly, John Waters, and Lawrence Weiner. Art=Text=Art was organized by the University of Richmond Museums and curated by N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University Museums, with Rachel Nackman, Curator of the Kramarsky Collection, New York. The exhibition and programs were made possible in part by the University of Richmond's Cultural Affairs Committee, and funds from the Louis S. Booth Arts Fund. The exhibition is accompanied by an online catalogue featuring images of all of the works in the exhibition, an essay by N. Elizabeth Schlatter, and entries contributed by University of Richmond alumni and students among other artists, writers, curators, and critics. It is free and accessible at www.artequalstext.com. Read the essay by N. Elizabeth Schlatter by choosing the download button. ; https://scholarship.richmond.edu/exhibition-catalogs/1001/thumbnail.jpg

In this essay, we will consider how censorship affects discourses of contemporary art in the Republic of Macedonia. To do so, we must first outline the cultural, political and social contexts in Macedonia; consider some differing standpoints on what constitutes contemporary art practice in the country; and, having done so, develop in detail two case studies which will allow the reader to gain an understanding of how censorship is deployed as a tactic in erasing, or in rendering illegitimate, critical contemporary art. Although, as we shall see, contemporary art occupies a marginal and, arguably, subterranean position in Macedonia, such censorial interventions are an acknowledgement of its potential to shape cultural debate in a different way.

"This book maps key moments in the history of post-war art from a global perspective. The reader is introduced to a new globally oriented approach to art, artists, museums, and movements of the postwar era (1945-1970). Specifically, this book bridges the gap between historical artistic centres, such as Paris and New York, and peripheral loci. Through case studies, previously unknown networks, circulations, divides and controversies are brought to light. From the development of Ethiopian modernism, to the showcase of Brazilian modernity, this book provides readers with a new set of coordinates and a reassessment of well-trodden art historical narratives around modernism. This book will be of interest to scholars in art historiography, art history, exhibition and curatorial studies, modern art and globalization"--

This volume is an anthology of current groundbreaking research on social practice art. Contributing scholars provide a variety of assessments of recent projects as well as earlier precedents, define approaches to art production, and provide crucial political context. The topics and art projects covered, many of which the authors have experienced firsthand, represent the work of innovative artists whose creative practice is utilized to engage audience members as active participants in effecting social and political change. Chapters are divided into four parts that cover history, specific examples, global perspectives, and critical analysis.

Regimes of Invisibility in Contemporary Art, Theory and Culture -- Contents -- List of Tables and Figures -- 1 Introduction: Image, Racialization, History -- Part I Theoretical-Political Interventions -- 2 Racialized Bodies and the Digital (Financial) Mode of Production -- Introduction -- Part 1: From the Cinematic Image to… -- The Movement-Image-Indirect-Time Interval-Exteriority of Space-Organic Form -- The Time-Image-Direct-Time Interval-Anteriority of Space-Serial Form -- Time Through Space -- The Movement-Image-Indirect-Time Interval-Exteriority of Space-Organic Form -- The Time-Image-Direct-Time Interval-Anteriority of Space-Serial Form -- The Movement-Image-Indirect-Time Interval-Exteriority of Space-Organic Form-Nation -- The Time-Image-Direct-Time Interval-Anteriority of Space-Serial Form-Postwar Middle Class, A New Form Of Intellectual, The Bourgeoisie -- Shifts in the Space-Time Paradigm -- Part 2: In Cyberspace with the Virtual-Image -- Space Through Time -- The Virtual-Image-Real-Time Interval-Non-Space-Synthetic (Artificial, Simulated) Form -- The Virtual-Image-Real-Time Interval-Non-Space-Synthetic (Artificial, Simulated) Form-The Multitude, Swarms -- Part 3: In The Midst of The Trophy Image, or Europe's Forgotten History: From "Human Zoos" to "Human Trophies" Displayed in Colonial Museums -- Racialized Space and Time -- The Trophy-Image-Without Time-Erased Space-Racialized Form -- The Trophy-Image-Without Time-Erased Space-Racialized Form-The Wretched (The Superfluous and The Disposable) -- Notes -- 3 Politics and Aesthetics of Databases and Forensics -- Expanding the Visions of Governmentality Beyond the West and Back -- Database as Major Global Neoliberal Governmental Technology -- Practices and Forms of Knowledge Production and Visibility -- "The ICTY's Archive/database" -- Public Exhibition as a "Forum

History, Use Value, and the Contemporary Work or Labour of Art examines the relationships between our current conception of contemporary art practice as work or labour and situates this within a historical discourse of work or labour as Use Value (re-Marx, Das Kapital, vol.1, 1867) or, more specifically, the idea that art, as a form of non-alienated labour, can act as both an aesthetic and ethical rebuff to the physical and mental alienation and fractalization of insturmentalized labour under our present conditions of neo-liberal globalization. As such the essay seeks to re—examine the relationship of aesthetics to politics in Rancière's notion of a 'meta-politics of aesthetics' and to offer alternative ways of thinking through and beyond this binarism through a re-reading of ethical labour in Marx and Hegel's proposition of the 'Unhappy Consciousness' in 'The Phenomenology of Sprit' (1807). The book What's the Use? Consteallations of Art, History, and Knowledge: A Critical Reader, also contains articles by international writers John Ruskin, Adrian Rifkin, Georges Didi-Huberman, George Yúdice and artists Tania Bruguera and Liam Gillick.