By Julian Stallabrass
Modern artwork hasn't ever been so well known, yet what's its position at the present time and who's controlling its destiny? modern artwork is meant to be a realm of freedom the place artists surprise, holiday taboos, flout normally bought rules, and turn among confronting audience with works of serious emotional profundity and jaw-dropping triviality. yet clear of surprise strategies within the gallery, there are lots of unanswered questions. who's quite operating the paintings international? What impact has America's becoming political and cultural dominance had on art?
Here Julian Stallabrass takes us contained in the overseas paintings international to reply to those and different debatable questions, and to argue that at the back of modern art's kind and obvious unpredictability lies a grim uniformity. Its mysteries are all too simply defined, its depths a lot shallower than they appear. modern artwork seeks to bamboozle its audience whereas being the keen slave of commercial and executive. This e-book is your antidote and may switch how you see modern art.
`'neat introduction....a readable, concise and infrequently witty account....this is a welcome-if partisan-reading of "contemporary art" and the function of the artist at a time of profound change'' Emmanuel Cooper, Tribune
`'Stallabrass is as ever refreshingly freed from bien-pensant nostrums'' Morgan Falconer, Burlington Magazine
Read or Download Contemporary Art: A Very Short Introduction (Very Short Introductions) PDF
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Additional resources for Contemporary Art: A Very Short Introduction (Very Short Introductions)
The work no longer belongs to me: it has become the property of all the people who have touched it. It is now concrete and ﬁlthy. Gao Minglu has put the matter of misreading forcefully, writing of how critical avant-garde activity gave way to a pragmatic neo-avant garde that strives to transcend the local in favour of acceptance in the international arena. This shift is largely a product of post-Cold War external pressures, but there is a persistent tendency in the West to ignore this transition and read contemporary Chinese art from a Cold War ideological perspective.
Just as capitalism as a world system stepped out from behind the cloak of its defeated opponent after 1989 and, in its rapid transformation, was revealed as the rapacious, inexorable system that it is, so it may be with the art world. The end of its use as a tool in the prosecution of the Cold War has made clear what had already been in development: its core function as a propagandist of neoliberal values. New world order 49 Chapter 3 Consuming culture 11. Takashi Murakami, Hiropon 50 If the economic expression of neoliberalism is sharper inequality, and its political expression deregulation and privatization, then its cultural expression is surely unrestrained consumerism.
Paramilitaries closely allied with government forces abduct and murder people with impunity. In some of Salcedo’s works, one piece of furniture is carefully placed inside another in a coupling. In others, what looks at ﬁrst sight like the grain of wood turns out to be human hair. These assemblages are blocked up with cement, which also sometimes partially submerges a door or an upturned table. In looking at these pieces there is a feeling of extremely slow submersion or erosion, a graph of the action of memory, seared by violence into the mind, sealed up by silence and censorship, returning unwanted in dreams and involuntary thoughts; and equally painfully losing its precise deﬁnition as time passes, and new memories, and memories of memories, are laid over old.