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Dedicated to an articulation of the earth from broadly ecological perspectives, eco art is a vibrant subset of contemporary art that addresses the widespread public concern with rapid climate change and related environmental issues. In Landscape into Eco Art, Mark Cheetham systematically examines connections and divergences between contemporary eco art, land art of the 1960s and 1970s, and the historical genre of landscape painting. Through eight thematic case studies that illuminate what eco art means in practice, reception, and history, Cheetham places the form in a longer and broader art-historical context. He considers a wide range of media—from painting, sculpture, and photography to artists' films, video, sound work, animation, and installation—and analyzes the work of internationally prominent artists such as Olafur Eliasson, Nancy Holt, Mark Dion, and Robert Smithson. In doing so, Cheetham reveals eco art to be a dynamic extension of a long tradition of landscape depiction in the West that boldly enters into today's debates on climate science, government policy, and our collective and individual responsibility to the planet. An ambitious intervention into eco-criticism and the environmental humanities, this volume provides original ways to understand the issues and practices of eco art in the Anthropocene. Art historians, humanities scholars, and lay readers interested in contemporary art and the environment will find Cheetham's work valuable and invigorating.

From a small community of pioneering artists who experimented with artificial intelligence (AI) in the 1970s, AI art has expanded, gained visibility, and attained socio-cultural relevance since the second half of the 2010s. Its topics, methodologies, presentational formats, and implications are closely related to a range of disciplines engaged in the research and application of AI. In this paper, I present a comprehensive framework for the critical exploration of AI art. It comprises the context of AI art, its prominent poetic features, major issues, and possible directions. I address the poetic, expressive, and ethical layers of AI art practices within the context of contemporary art, AI research, and related disciplines. I focus on the works that exemplify poetic complexity and manifest the epistemic or political ambiguities indicative of a broader milieu of contemporary culture, AI science/technology, economy, and society. By comparing, acknowledging, and contextualizing both their accomplishments and shortcomings, I outline the prospective strategies to advance the field. The aim of this framework is to expand the existing critical discourse of AI art with new perspectives which can be used to examine the creative attributes of emerging practices and to assess their cultural significance and socio-political impact. It contributes to rethinking and redefining the art/science/technology critique in the age when the arts, together with science and technology, are becoming increasingly responsible for changing ecologies, shaping cultural values, and political normalization.

This paper examines the critical reception of Spanish contemporary art in the English-speaking world between 1974 and 1982. It examines how the lasting impact of Franco’s cultural diplomacy efforts in the 1950s and 1960s, which promoted in particular the Spanish abstract and Informalist artists, connecting them to a specific conception of Spanishness and the artists of the Spanish golden age, left English-speaking publics with certain preconceptions about Spanish art. This, combined with a lack of understanding of the Spanish socio-political context during the transition to democracy, negatively affected the reception of later artistic movements. The paper is based on a close reading of contemporaneous primary sources – principally exhibition reviews in newspapers and specialist art magazines – and is centred around four case studies, including the 1976 Venice Biennale and major touring exhibitions in the United Kingdom and the United States.

How to transcend land grab economies, even by means of art?The reader REALTY moves from the safety of critique to the vulgarity of suggestions.The pandemic's effect on mobility presents a historic opportunity.Rarely has criticism of our extractive artworld logic of one-place-after-another been louder.

Art museums serve the public in a wide variety of ways, such as exhibition places for art and artifacts, as well as venues for social and educational events. However, as noted by Eisner and Dobbs, Art Education, many museums are culturally rich but pedagogically poor, as evidenced by the tendency of most visitors to reject the docent tour, refuse the audio guide, and leave the catalog unread. Since most museum visitors prefer to explore on their own, the role of museum exhibitions, which reflect democratic education, becomes important in helping visitors create meaningful experiences and develop creativity. This study is based on my art theory classes at A University and B University in Daegu, Korea. The study will examine how the prospective middle and high school teachers from my class perceive contemporary art exhibitions and the social role of contemporary art and art museums. Through this research, it will be possible to suggest the direction that contemporary art museums should take in the future.

An art-historical perspective on interactive media art that provides theoretical and methodological tools for understanding and analyzing digital art.Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art.Kwastek lays the historical and theoretical groundwork and then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance-with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedüs, Tmema, David Rokeby, Sonia Cillari, and Blast Theory.

What does an assemblage made out of crumpled newspaper have in common with an empty room in which the lights go on and off every five seconds? This book argues that they are both examples of a 'precarious' art that flourished from the late 1950s to the first decade of the twenty-first century, in light of a growing awareness of the individual's fragile existence in capitalist society. Focusing on comparative case studies drawn from European, North and South American practices, this study maps out a network of similar concerns and practices, while outlining its evolution from the 1960s to the beginning of the twenty-first century. This book will provide students and amateurs of contemporary art and culture with new insights into contemporary art practices and the critical issues that they raise concerning the material status of the art object, the role of the artist in society, and the relation between art and everyday life.

This book addresses late-Soviet and post-Soviet art in Armenia in the context of turbulent transformations from the late 1980s to 2004. It explores the emergence of 'contemporary art' in Armenia from within and in opposition to the practices, aesthetics and institutions of Socialist Realism and National Modernism. This historical study outlines the politics (liberal democracy), aesthetics (autonomous art secured by the gesture of the individual artist), and ethics (ideals of absolute freedom and radical individualism) of contemporary art in Armenia and points towards its limitations. Through the historical investigation, a theory of post-Soviet art historiography is developed, one that is based on a dialectic of rupture and continuity in relation to the Soviet past. As the first English-language study on contemporary art in Armenia, the book is of prime interest for artists, scholars, curators and critics interested in post-Soviet art and culture and in global art historiography.

Proprietary algorithms, secret data troves, and inscrutable systems rule the day.How is this registered in art?In Poetics of Encryption Nadim Samman explores works that highlight the hidden dimensions of our technological landscape.

This book is about the destruction of art, both in terms of objects that have been destroyed – lost in fires, floods or vandalism – and the general concept of art operating through object and form. Through re-examinations of such events as the Momart warehouse fire in 2004 and the activities of art thief Stéphane Breitwieser, the book proposes an idea of solvent form hinging on the dual meaning in the words solvent and solvency, whereby art, while attempting to make secure or fixed, simultaneously undoes and destroys through its inception. Ultimately, the book questions what is it that may be perceived in the destruction of art and how we understand it, and further how it might be linked to a more general failure.