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"Art, Modern 21st century Exhibitions."
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Nanoart
Nano is Greek for dwarf and the word nanotechnology 'was first proposed in the early seventies by a Japanese engineer, Norio Taniguchi, implying a new technology that went beyond controlling materials and engineering on the micrometer scale that dominated the 20th Century'. The content for this book has been based on a self-emergent process. It explores an art historical understanding of matter and uses various hypotheses to elucidate the effects on materiality and agency as a result of the emergence of nanotechnology. The blurring of material boundaries are reflected in the establishment of a fluid organic spatial narrative in which to place ideas, propositions and concerns. A cornerstone of the book is the concept posed in the philosophical writings of Lucretius of the unpredictability of the atoms' swerve and its formative role in the beginning of all matter, form, life and individuality. It focusses on the concepts of vibration, vitalism, life and materiality and extends the artist's concepts of agency in relation to matter.
eBook
Black Artists in British Art
Black artists have been making major contributions to the British art scene for decades, since at least the mid-twentieth century. Sometimes these artists were regarded and embraced as practitioners of note. At other times they faced challenges of visibility - and in response they collaborated and made their own exhibitions and gallery spaces. In this book, Eddie Chambers tells the story of these artists from the 1950s onwards, including recent developments and successes. Black Artists in British Art makes a major contribution to British art history. Beginning with discussions of the pioneering generation of artists such as Ronald Moody, Aubrey Williams and Frank Bowling, Chambers candidly discusses the problems and progression of several generations, including contemporary artists such as Steve McQueen, Chris Ofili and Yinka Shonibare. Meticulously researched, this important book tells the fascinating story of practitioners who have frequently been overlooked in the dominant history of twentieth-century British art.
eBook
Unpacking : the Marciano collection
This book offers an incisive view of a wonderfully pluralistic collection and heralds its new permanent home in an architecturally and historically significant former Scottish Rite Masonic temple designed by Millard Sheets. Conceived as an 'artist's playground,' the building has been transformed by contemporary architect Kulapat Yantrasast of wHY Architecture and Design into a spectacular platform for art and education, including a wide array of exhibition spaces. Highlighting the foundation's first exhibition curated by Philipp Kaiser in its stately new location, the book also includes an interview with and biography of architect Millard Sheets; an essay on the secret Masonic rituals that once took place in the building; and insights from Yantrasast on the synergy between a historic structure, contemporary art, and the urban environment. Exhibition: Marciano Art Foundation, Los Angeles, USA (The museum opens in Spring 2017).
Book
Breaking Resemblance
In recent decades curators and artists have shown a distinct interest in religion, its different traditions, manifestations in public life, gestures and images. Breaking Resemblance explores the complex relationship between contemporary art and religion by focusing on the ways artists re-work religious motifs as a means to reflect critically on our desire to believe in images, on the history of seeing them, and on their double power— iconic and political. It discusses a number of exhibitions that take religion as their central theme, and a selection of works by Bill Viola, Lawrence Malstaf, Victoria Reynolds, and Berlinde de Bruyckere—all of whom, in their respective ways and media, recycle religious motifs and iconography and whose works resonate with, or problematize the motif of, the true image.
eBook
Collecting the new
Collecting the Newis the first book on the questions and challenges that museums face in acquiring and preserving contemporary art. Because such art has not yet withstood the test of time, it defies the traditional understanding of the art museum as an institution that collects and displays works of long-established aesthetic and historical value. By acquiring such art, museums gamble on the future. In addition, new technologies and alternative conceptions of the artwork have created special problems of conservation, while social, political, and aesthetic changes have generated new categories of works to be collected.
Following Bruce Altshuler's introduction on the European and American history of museum collecting of art by living artists, the book comprises newly commissioned essays by twelve distinguished curators representing a wide range of museums. First considered are general issues including the acquisition process, and collecting by universal survey museums and museums that focus on modern and contemporary art. Following are groups of essays that address collecting in particular media, including prints and drawings, new (digital) media, and film and video; and national- and ethnic-specific collecting (contemporary art from Asia, Africa, and Latin America, and African-American art). The closing essay examines the conservation problems created by contemporary works--for example, what is to be done when deterioration is the artist's intent?
The contributors are Christophe Cherix, Vishakha N. Desai, Steve Dietz, Howard N. Fox, Chrissie Iles and Henriette Huldisch, Pamela McClusky, Gabriel Pérez-Barreiro, Lowery Stokes Sims, Robert Storr, Jeffrey Weiss, and Glenn Wharton.
eBook
