Page as alternative space redux: artists’ magazines in the 21 st century

2013 ◽  
Vol 38 (3) ◽  
pp. 10-17
Author(s):  
David Senior
Keyword(s):  
Digital Media ◽  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art And Design ◽  
The Past ◽  
Production And Distribution ◽  
New Challenges ◽  
Selection Of

In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.

scholarly journals Incident Transgressions: A Review of Transmissions: Art in Eastern Europe and Latin America, 1960–1980, MOMA

ARTMargins ◽  
2016 ◽  
Vol 5 (2) ◽  
pp. 87-104
Author(s):  
Ileana L. Selejan
Keyword(s):  
New York ◽  
Latin America ◽  
Eastern Europe ◽  
Art History ◽  
Modern Art ◽  
Cross Cultural ◽  
Museum Of Modern Art ◽  
Selection Of

By placing on view a large selection of objects recently acquired by the New York Museum of Modern Art, the exhibition Incident Transgressions: Report on “Transmissions: Art in Eastern Europe and Latin America 1960–1980” (September 5, 2015 to January 3, 2016) sought to situate artistic practices from Latin America and Eastern Europe within a discursive model of cross-cultural and aesthetic transmission. However, the exhibition marginalized an account of the specific relations between these objects in favor of a more encompassing global curatorial narrative. While seeking to outline the parameters of the exhibition, and its implications in regard to contemporary trends in art history and museology, the text aims to highlight some of the instances of transmission and contact, both real and imagined, between the objects displayed.

Recalcitrant Geographies: National Claims, Transnationalism, and the Institutionalization of Contemporary Art

2014 ◽  
Vol 1 ◽  
Author(s):  
Kitty Zijlmans
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Art Museums ◽  
Western World ◽  
The West ◽  
International Scope ◽  
The Past ◽  
Museum Displays ◽  
Globalizing World

The time is ripe for modern and contemporary art museums in the West to reconsider their position in a globalizing world, to engage with such questions as how their collections have been formed and presented in the past fifty years or more, and what they represent. Modern art is said to have an international scope, but in reality this generally means Euro-American. Consequently, its origins, which lie in part in art from Africa, the Pacific and the Americas, are denied. Contemporary art as a global phenomenon is making a somewhat hesitant entry into museums in the Western world and into art history. It may be making its entry and may also be included in the discourse of art history, but in many cases this move is problematic. Throughout the past twenty-five years, Third Text founder Rasheen Araeen has fulminated against the “West’s” appropriation of modern art and the concept of Modernism.[1] Third Text has persistently argued that the Western analytical paradigm of the arts is distorted in its history and imposes its values and aesthetics without acknowledging the contribution of artists “from elsewhere,” as Okwui Enwezor terms it. This has had a number of consequences, not least the neglect in art historical textbooks and by modern art museums in the West of crucial Modernist work produced by non-Euro-American artists. Not having been written into the mainstream of art history, or seen as foundational for the formation of the canon of modern art and displays in modern art museums, this neglect results in a distorted view and calls for a thorough rewriting of modern art history, as well as a reconsideration of the layout of art museums. This urge is felt even more in the present-day globalization of art and the art world. “Art from elsewhere,” which is abundant, cannot simply be added to the existing canons or inserted into prevalent discourses; rather, we need to critically assess the foundations of art historical writing, canon formation, and museum displays.

MaerzMusik 2015: ‘Festival for Time Issues’

Tempo ◽  
2015 ◽  
Vol 69 (274) ◽  
pp. 73-75
Author(s):  
Evan Gardner
Keyword(s):  
Digital Media ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Train Station

The torch of artistic direction has passed from Matthias Osterwold to Berno Odo Polzer. Under the former, MaerzMusik was unique among the large European international festivals for its focus on interdisciplinary concerts, sound installations, crossover projects and use of digital media. Concerts often took place in alternative venues ranging from Berlin's most (in)famous nightclub, Berghain, to the Hamburger Bahnhof, a train station transformed into a museum of modern art. The home of the festival, Haus der Berliner Festspiele, was almost exclusively employed for sound installations and music theatre performances. One always had to be sure to buy tickets in advance for fear of facing a sold-out concert; the capacity of the alternative venues was often limited.

Embodiment, Curation, Exhibition

Screen Bodies ◽  
2016 ◽  
Vol 1 (1) ◽  
pp. 87-91
Author(s):  
Jiaying Sim
Keyword(s):  
Real Time ◽  
Contemporary Art ◽  
Modern Art ◽  
William Blake ◽  
Slow Motion ◽  
The Past ◽  
Film And Video ◽  
Do So

As part of the 2014 GENERATION project celebrating the past twenty-five years of contemporary art in Scotland, Douglas Gordon’s exhibition, “Pretty much every film and video work from about 1992 until now,” took centerstage at the Gallery of Modern Art in Glasgow. Gordon contributed to the dialogue with a unique installation showcasing his twenty-two years of artistic endeavors through 101 different-sized old television sets elevated on old plastic beer crates, simultaneously screening 82 video and film works. The screens flickered and lit the dark main gallery as the visual works played on loop—some with sound, some without, some in slow motion. The exhibition included such works as 24 Hour Psycho (1993), Between Darkness and Light (After William Blake) (1997), Play Dead; Real Time (2003), Henry Rebel (2011), Silence, Exile, Deceit: An Industrial Pantomime (2013) and emphasized how Gordon’s collection has grown since its first exhibition from 1999 in Poland and will continue to do so, as he updates the videos and films.

scholarly journals Anniversary solo exhibitions of Zurab Tsereteli abroad

2019 ◽  
Author(s):  
Мария Владиславовна Федорова
Keyword(s):  
Great Britain ◽  
Contemporary Art ◽  
Russian Federation ◽  
Possible Worlds ◽  
Modern Art ◽  
International Exhibition ◽  
Museum Of Modern Art ◽  
Charlie Chaplin ◽  
State Museum ◽  
The Russian Federation

Статья представляет обзор зарубежных выставокЗураба Константиновича Церетели. Зураб Церетели народный художник СССР и Российской Федерации, посол доброй воли ЮНЕСКО, президент Российской академии художеств отметил свой 85-летие в 2019 году. В течение года он представил свои скульптуры, живописные и графические работы на выставках Больше, чем жизнь (галерея Саатчи , Лондон, Великобритания), Возможные миры (Центр Гейдара Алиева, Баку, Азербайджан), Чарли Чаплин в Тифлисе (филиал Московского музея современного искусства, Тбилиси, Грузия), Персоналии Зураб Церетели (Государственный музей Лихтенштейна, Вадуц, Лихтенштейн), Монументальность (галерея D10 Art Space, Женева, Швейцария), экспозиции намеждународной выставке современного искусства АртПариж (Гран Пале, Париж), международной художественной ярмарке Art Bahrain Across Borders 2019 (Бахрейн). The article provides an overview of foreign exhibitions of Zurab Konstantinovich Tsereteli. Zurab Tsereteli, Peoples Artist of the USSR and the Russian Federation, UNESCO Goodwill Ambassador, President of the Russian Academy of Arts, celebrated his 85th birthday in 2019. During the year, he presented his sculptures, paintings and graphic works at the exhibitions More than Life (Saatchi Gallery, London, Great Britain), Possible Worlds (Heydar Aliyev Center, Baku, Azerbaijan), Charlie Chaplin in Tiflis (Branch of the Moscow Museum of Modern Art, Tbilisi, Georgia), Personalities Zurab Tsereteli (State Museum of Liechtenstein, Vaduz, Liechtenstein), Monumental (D10 Art Space Gallery, Geneva, Switzerland),expositions at the international exhibition of contemporary art ArtParis (Grand Palais, Paris), the international art fair Art Bahrain Across Borders 2019 (Bahrain).

scholarly journals ‘Contemporary Classicism’ Copy of a Copy: Appropriating Classical Statues as Conceptual Readymades

CLARA ◽  
2021 ◽  
Vol 8 ◽  
Author(s):  
Hallie Meredith ◽  
Sarah Barnett
Keyword(s):  
Digital Media ◽  
Case Studies ◽  
Contemporary Art ◽  
Generative Art ◽  
The Past ◽  
Greco Roman ◽  
Classical Work ◽  
Accessible Point ◽  
Greek Sculpture ◽  
Point Of Reference

Conceptual readymades – a contemporary artist’s use of a classical work selected as a key point of reference taken out of time – have developed in recent years as part of contemporary art’s appropriation of Greco-Roman statuary. This investigation argues that a contemporary artist’s use of the classical does not represent ‘copies’ but cultural readymades. Contemporary digital and sculptural work foregrounding the classical sheds light on the parallel phenomenon whereby Roman re-interpretations of Greek sculpture may have been equivalent to contemporary classicism. Contemporary case studies featuring digital media, generative art, and sculpture are approached both from the perspective of what they can reveal about contemporary art’s use of the classical and what contemporary art’s use of classical sculpture can suggest about Roman reinterpretations as cultural readymades. Remade as part of contemporary art, classical sculpture is uniquely positioned as an accessible point of reference with which to comment on our own time by concurrently reframing the past.

Documenting Latin American art at the Museum of Modern Art Library

2005 ◽  
Vol 30 (3) ◽  
pp. 33-36
Author(s):  
Taína Caragol
Keyword(s):  
Latin American ◽  
Art History ◽  
Modern Art ◽  
American Art ◽  
Museum Of Modern Art ◽  
Latin American Art ◽  
History Of ◽  
Geopolitical Region ◽  
Art Community ◽  
American Art History

This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also shows the Museum’s strong commitment not only towards Latin American art history but also to the present and the future of the Latino art community.

SYSTEM OF ARCHAIC SIGNS-SYMBOLS IN THE ORNAMENTS OF THE MESENA SPINNING ROTARY

2021 ◽  
Vol 23 (77) ◽  
pp. 70-75
Author(s):  
A.A. Zhogolevа ◽  
◽  
E.G. Stolyarova
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Ancient Greece ◽  
Traditional Culture ◽  
Single System ◽  
Present Stage ◽  
Art And Design ◽  
The World ◽  
History Of ◽  
The Subject

The article is devoted to the study of the symbols of the Mezen painting as a single system. The spinning wheel is viewed as a cosmogonic model of our ancestors, where painting is directly related to the content of the image. The object of the research is the archaic symbols of the Mezen painting. The subject is the development of ornaments and prints for decor and product design. The history of the Mezen craft (geography, origins, traditions), the artistic features of the craft (materials, technology) and the semantics of the ornament are studied. The article considers archaic ornaments of Mezeno in connection with the ancient cultures of mankind (the Neolithic era, Andronov culture, Ancient Greece, etc.) and Slavic traditional culture. The article deals with deciphering the semantics of the ornament of the Mezen spinning wheel as a reflection of the idea of the world of our ancestors. The author's development "The symbolism of the Mezen painting in contemporary art" is given, showing the possibility of using the Mezen ornament at the present stage of the development of artistic culture in art and design. The authors of the article propose to use the ornaments and symbols of Mezeno as decor and prints in modern art and design.

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