Contemporary Art: A Very Short Introduction (Very Short by Julian Stallabrass

By Julian Stallabrass

Modern paintings hasn't ever been so renowned, yet what's its position this present day and who's controlling its destiny? modern artwork is meant to be a realm of freedom the place artists surprise, holiday taboos, flout normally got rules, and turn among confronting audience with works of significant emotional profundity and jaw-dropping triviality. yet clear of surprise strategies within the gallery, there are various unanswered questions. who's relatively operating the artwork international? What impression 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 arguable questions, and to argue that at the back of modern art's style 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 prepared slave of industrial and executive. This ebook is your antidote and should swap how you see modern art.

Reviews:

`'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

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Extra resources for Contemporary Art: A Very Short Introduction (Very Short Introductions)

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Coco Fusco, in an article for the archly cool art magazine Frieze (and reprinted in her book, The Bodies That Were Not Ours), tried to put the politics back into Kcho’s work, particularly by looking at its use by the authorities in the Havana Biennial. For such cheek in analysing a new darling of the market she received threats, and the magazine had to deal with complaints from Kcho’s dealers. It says much about the level of art writing in such magazines – and the degree to which powerful dealers and art institutions ensure servile ‘criticism’ – that such an article should stand out so dramatically from the critical landscape.

Bäckström, like many other contemporary Scandinavian artists, views the effect of modernism as claustrophobic. It is easy to imagine the ideal absent inhabitants of these interiors, contented, measured rational characters at home with homogeneity. Artists, by contrast, expose the underbelly of that rational culture with relish, highlight the problems surrounding the ingress of immigrants from other cultures, and celebrate the claims of the many strands of identity politics. Bjarne Melgaard, an artist whose work deals with gay sexuality, took a trip to Tahiti and once there masturbated over Gauguin’s grave.

One example would be the Istanbul Biennial, which is part of the Turkish government’s effort to assure the 25 New world order The extraordinary proliferation of biennales is driven by the same forces that have caused new museums to spring up like mushrooms, and old ones to expand and rebuild. Governments are well aware that cities increasingly compete globally against one another for investment, the location of company headquarters, and tourism. The most successful cities must secure, along with economic dynamism, a wide variety of cultural and sporting fixtures.

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