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.

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 Historiographical traditions and modern imperatives for the restoration of global history

2006 ◽  
Vol 1 (1) ◽  
pp. 3-39 ◽  
Author(s):  
Patrick O’Brien
Keyword(s):  
Global History ◽  
The West ◽  
The Past ◽  
Globalizing World ◽  
The World ◽  
The Times

This essay has been written to serve as a prolegomenon for a new journal in Global History. It opens with a brief depiction of the two major approaches to the field (through connexions and comparisons) and moves on to survey first European and then other historiographical traditions in writing ‘centric’ histories up to the times of the Imperial Meridian 1783–1825, when Europe’s geopolitical power over all other parts of the world became hegemonic. Thereafter, and for the past two centuries, all historiographical traditions converged either to celebrate or react to the rise of the ‘West’. The case for the restoration of Global History rests upon its potential to construct negotiable meta-narratives, based upon serious scholarship that will become cosmopolitan in outlook and meet the needs of our globalizing world.

Contemporary Art Museums' Marketing Strategies

2014 ◽  
pp. 371-388
Author(s):  
Zeynep Guney Celebi
Keyword(s):  
Literature Review ◽  
Contemporary Art ◽  
Modern Art ◽  
Art Museums ◽  
Marketing Strategies ◽  
Entertainment Industry ◽  
Museum Marketing ◽  
Marketing Tool ◽  
The Relationship

Contemporary art museums are significant actors in the entertainment industry, which is recreated by new forms of leisure time activities every day. Entertainment that is used as an important and effective marketing tool in contemporary art museums is also a significant formative of the new relationship between contemporary art museums and their visitors. Therefore, the aim of this chapter is to explore the relationship between art, entertainment, leisure, and museum marketing with a literature review in order to find answers to questions like, What is the relationship between art and entertainment? and Which marketing techniques are used by contemporary art organizations? In this context, the relationship between leisure, entertainment, and contemporary art museums is explained; afterwards, contemporary art museums' marketing strategies are described in detail as the main scope of the study. Finally, as a case study, Istanbul Modern Art Museum's political-economical environment and marketing strategies are analyzed.

scholarly journals Has Akira Always Been a Cyberpunk Comic?

Arts ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 32 ◽  
Author(s):  
Martin de la Iglesia
Keyword(s):  
United States ◽  
Science Fiction ◽  
The United States ◽  
Western World ◽  
The West ◽  
The Past ◽  
European Languages ◽  
Blade Runner ◽  
Genre Awareness

Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro Ōtomo’s manga Akira into several European languages at just that time (into English beginning in 1988, into French, Italian, and Spanish beginning in 1990, and into German beginning in 1991) was no coincidence. In hindsight, cyberpunk tropes are easily identified in Akira to the extent that it is nowadays widely regarded as a classic cyberpunk comic. But has this always been the case? When Akira was first published in America and Europe, did readers see it as part of a wave of cyberpunk fiction? Did they draw the connections to previous works of the cyberpunk genre across different media that today seem obvious? In this paper, magazine reviews of Akira in English and German from the time when it first came out in these languages will be analysed in order to gauge the past readers’ genre awareness. The attribution of the cyberpunk label to Akira competed with others such as the post-apocalyptic, or science fiction in general. Alternatively, Akira was sometimes regarded as an exceptional, novel work that transcended genre boundaries. In contrast, reviewers of the Akira anime adaptation, which was released at roughly the same time as the manga in the West (1989 in Germany and the United States), more readily drew comparisons to other cyberpunk films such as Blade Runner.

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 Americocentrism and Art of the Caribbean: Contours of a Time–Space Logic

2013 ◽  
Vol 47 (2) ◽  
pp. 417-438 ◽  
Author(s):  
LEON WAINWRIGHT
Keyword(s):  
United States ◽  
Contemporary Art ◽  
African Diaspora ◽  
Art History ◽  
Modern Art ◽  
The United States ◽  
Historical Narratives ◽  
Time Space ◽  
The Caribbean ◽  
Space Logic

Art of the transnational Caribbean has come to be positioned by an understanding of the African diaspora that is oriented to an American “centre,” a situation to be explored for what it reveals about the hegemonic status of the United States in the discipline of contemporary art history. The predominant uses of the diaspora concept both in art-historical narratives and in curatorial spaces are those that connect to United States-based realities, with little pertinence to a strictly transnational theorization. This has implications for how modern art and contemporary art are thought about in relation to the Caribbean and its diaspora, in a way that this article demonstrates with attention to a number of artists at multiple sites, in Trinidad, Guyana, Britain and America.

scholarly journals THE IDENTITY AS AN ART PHENOMENON

2021 ◽  
Vol 5 (43) ◽  
Author(s):  
A. Zinenko
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
Organizational Design ◽  
Cross Cultural ◽  
Research Subject ◽  
Art Theory ◽  
Teaching Activities ◽  
Hermeneutic Phenomenological ◽  
The Past

The research subject is the study of the Phenomenon of identity and its reflection in contemporary Ukrainian art. The purpose of the work is to investigate the specifics of the Phenomenon's reflection of identity in contemporary Ukrainian art. The work methodology is based on chronological and scientific comprehensiveness, art history, historical, philosophical, and culturological approaches, ontological, axiological, hermeneutic, phenomenological, cross-cultural, and method of art analysis. The work results allow us to understand the evolution of researchers' views in various fields on the Phenomenon of identity and its application in contemporary art approaches. The results' scope is today's artistic practices, history, art theory, and art criticism, teaching activities for students and graduate students of creative specialties. Findings. The Phenomenon of identity in contemporary art means that problem of its reflection in the art exists and begins to be understandable. Some conclusions about the correctness of the direction of practices and patterns to a new search identity approach can be made considering foreign experience. Simultaneously, a society that interacts with contemporary art in the latest cultural projects and what principles of such participation should be taken into account in organizational, design, exhibition, and interpretive activities. The proof that modern contemporary art in its various manifestations is deeply rooted in the socio-cultural process, and therefore has different forms of identity, is closely connected with the past and present of Ukraine. Appeal to the past in art - preserving memory, rethinks symbols and signs, gives new life to archaic images and techniques; art is turned to the present, reflecting on reality. Presenting society's moods and problems accumulate the achievements of Ukraine as an independent country.Keywords: contemporary art, identity, Ukraine, the beginning of XXI century. 

scholarly journals STATENS MUSEUM FOR KUNST: Et museum for kunsthistorien og samtidskunsten

2001 ◽  
Author(s):  
Vibeke Petersen
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Art History ◽  
Denis Diderot ◽  
Wide Field ◽  
14Th Century ◽  
The Past ◽  
The Enlightenment ◽  
French Art ◽  
Public Museum

Statens Museum for Kunst is now one of the few art museums in Europe where collections of art from the 14th century to the present day are kept together. However, the need for an expansion of the exhibition area became increasingly urgent, and a wing was added to the museum in 1996. The article’s title indicates, therefore, the framework for the wide field of art covered by the museum. It is relevant to take a closer look at the historical basis for this combination within visual art. Two important players come to mind: Diderot, French art critic and philosopher of the Enlightenment, and in Denmark the art historian Julius Lange. Diderot advanced the idea that contemporary art should be part of the “modern” public museum. If any one person deserves the credited for legitimizing contemporary art as an important category in itself, it is Denis Diderot, for he made the claim the con-temporary art be taken as seriously as was the art of the past. Lange played a leading part in Danish artistic life. His aim to make explicit the criteria for obtaining optimum presentation of the art collections at Statens Museum for Kunst resulted in heated discussions. They have had a decisive influence in Denmark on the ongoing discussions of the importance of contemporary art seen in relation to museums and art history, and on the presentation of art collections and, not least, on what they should represent. In the end of the 20th century the concept of representation has had a dramatic revival. For an insightful con-tribution to this movement, the article points to the American art historian Donald Preziosi’s discussion of the relation between the “modern” public museum and the con-cept of representation.  

The Basic Paradigm Shift in Contemporary Art

2020 ◽  
pp. 1-29
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Art History ◽  
Paradigm Shift ◽  
Life Science ◽  
Modern Art ◽  
Art Theory ◽  
Social Politics ◽  
The Social ◽  
The Difference

The difference between modern and contemporary art, which in the present enters the names of art museums, is based on the notions formed in art theory and art history: whereas modern art is tied to aesthetics, artistic autonomy, author, and the concept of stable and finished artwork, the more fluid and conceptual contemporary art foregrounds the links of the art with the social, politics, economy, everyday life, science, and media. This chapter aims to explore media-shaped contemporary art projects in terms of art services that are algorithmic, cognitive, and conceptual. The service presupposes a problem, a challenge, or an order to be solved or carried out. The artist as a service performer is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the manufacturing of a finished object.

Contemporary Art Museums' Marketing Strategies

2014 ◽  
pp. 1154-1171
Author(s):  
Zeynep Guney Celebi
Keyword(s):  
Literature Review ◽  
Contemporary Art ◽  
Modern Art ◽  
Art Museums ◽  
Marketing Strategies ◽  
Entertainment Industry ◽  
Museum Marketing ◽  
Marketing Tool ◽  
The Relationship

Contemporary art museums are significant actors in the entertainment industry, which is recreated by new forms of leisure time activities every day. Entertainment that is used as an important and effective marketing tool in contemporary art museums is also a significant formative of the new relationship between contemporary art museums and their visitors. Therefore, the aim of this chapter is to explore the relationship between art, entertainment, leisure, and museum marketing with a literature review in order to find answers to questions like, What is the relationship between art and entertainment? and Which marketing techniques are used by contemporary art organizations? In this context, the relationship between leisure, entertainment, and contemporary art museums is explained; afterwards, contemporary art museums' marketing strategies are described in detail as the main scope of the study. Finally, as a case study, Istanbul Modern Art Museum's political-economical environment and marketing strategies are analyzed.

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