Others have explored the economies of reciprocity and the ethics of generosity, in works that address changed conditions of codependence and new sites of social negotiation. And a “poetics of connectivity” runs through a diverse range of work that addresses the social and material complexity of networks through physical structures and ambient installation, the mapping of the Internet, or the development of robots and software that take on the functions of artist or curator.
Networks Whitechapel: Documents of Contemporary Art #ad - Artists surveyed includejoseph beuys, pia lindman, manuel castells, aleksandra mir, walid raad, artüras raila, gego, craig saper, jobim jochimsen, umberto eco, marta minujín, tiziana terranova, fernand deligny, peter fend, pit schultz, hakim bey, Ola Pehrson, Wolf Vostell, Bruno Latour, Tomaso Tozzi, Ultra Red, Guy Debord, Marshall McLuhan, Saskia Sassen, Koncern, Diana McCarty, Sadie Plant, Stephen WillatsWriters include Jane Bennett, Hito Steyerl, Marcel Mauss, Lane Relyea, Mark Lombardi, Ève Chiapello, Ursula Biemann, Steven Shaviro, Critical Art Ensemble, Antonio Negri, Michael Hardt, Okwui Enwezor, Christine Kozlov, Heath Bunting, Tanja Ostojic, Suzanne Treister, Reza Negarestani, Luc Boltanski, Paolo Virno .
Considering art at the center of network theory, from the rise of the electronic media age in the 1960s to the present. The dawn of the electronic media age in the 1960s began a cultural shift from the modernist grid and its determination of projection and representation to the fluid structures and circuits of the network, presenting art with new challenges and possibilities.
Systems Whitechapel: Documents of Contemporary ArtThe MIT Press #ad - Katherine hayles, mary louise lobsinger, christian Katti, Niklas Luhmann, Stephen Jones, Bruno Latour, James Lovelock, Caroline Jones, Humberto Maturana, Donella H. Writings survey system-based art, from its origins in works from the 1950s to the 1970s to its twenty-first century resurgence in works that draw on cutting-edge science.
In the late 1950s, experiments such as the cybernetic sculptures of Nicolas Schöffer or the programmatic music compositions of John Cage and Iannis Xenakis transposed systems theory from the sciences to the arts. Jack burnham's 1968 artforum essay “systems aesthetics” and his 1970 “Software” exhibition marked the high point of systems-based art until its resurgence in the changed conditions of the twenty-first century.
Systems Whitechapel: Documents of Contemporary Art #ad - Systems traces this radical shift in aesthetics from its roots in mid twentieth-century general systems theory, cybernetics, and artificial intelligence to the cutting-edge science of the present. Crutchfield, boris groys, Usman Haque, Francis Halsall, N. Mitchell, gordon pask, francisco varela, Heinz von Foerster, Nick Prior, Michael Weinstock, Norbert Wiener .
Meadows, William J. The collected texts examine the connections between advanced technological systems, change the configurations of social relations, our bodies and minds; the relation of musical to spatial and architectural structures; and the ways in which systems-based art projects can create self-generating entities and networks, alter our experience of time, cross cultural borders, and interact with threatened ecosystems.
Artists surveyed include roy ascott, iannis xenakiswriters include gregory bateson, richard paul lohse, pierre bourdieu, brian eno, tomás saraceno, cedric price, helen mayer harrison, Mitchell Whitelaw, Stephen Willats, Hans Haacke, Ubermorgen, Manfred Mohr, Michael Joaquin Grey, Sonia Sheridan, Newton Harrison, Christa Sommerer, Laurent Mignonneau, Mary Catherine Bateson, John Whitney, Nam June Paik, Joan Littlewood, Woody and Steina Vasulka, Peter Weibel, Frank Gillette, James Whitney, Ken Rinaldo, Casey Reas, David Dunn, Driessens and Verstappen, R.
Information Whitechapel: Documents of Contemporary ArtThe MIT Press #ad - It examines such landmark exhibitions as “information” at the museum of modern art, Paris, in 1970, and the equally influential “Les Immatériaux, New York, ” initiated by the philosopher Jean-François Lyotard at the Centre Pompidou, in 1984. E. Thing Co. An art-historical reassessment of information-based art and exhibition curation, from 1960s conceptualism to current digital and network-based practices.
This anthology provides the first art-historical reassessment of information-based art in relation to data structures and exhibition curation. While information science draws distinctions between “information, and data, ” signals, artists from the 1960s to the present have questioned the validity and value of such boundaries.
Information Whitechapel: Documents of Contemporary Art #ad - It also reinscribes into the narrative of art history technologically critical artworks that for years have circulated within new media festivals rather than in galleries. Artists have investigated information's materiality, in hidden codes, challenging utopian notions of networked society; its potential for misinformation and disinformation, structures, in signs, subliminally altering our perceptions; and its post-digital unruliness, social interaction, in instructions, and political agency; its overload, records, and traces; its immateriality, or uncontrollable excess, and flows; its embodiment, unsettling fixed notions of history and place.
Artists surveyed include david askevold, les levine, camp shaina anand & ashok sukumaran, rod dickinson, mckenzie wark, thomson & craighead, graham harwood, antony hudek, erica scourti, jean-françois lyotard, friedrich kittler, armin medosch, scott lash, arthur and marielouise kroker, Heath Bunting, Hans Haacke, Joseph Kosuth, Young-Hae Chang Heavy Industries, Oliver Laric, Eduardo Kac, Jenny Holzer, Stelarc, Iain Baxter, Christine Kozlov, Guy Bleus, Muntadas, Matthew Fuller, Felix Stalder, Suhail Malik, Alessandro Ludovico, Francesca Gallo, Angie Waller, Elizabeth Vander ZaagWriters include James Bridle, Stephen Willats, Jorinde Seijdel, Richard Cochrane, Steve Lambert and the Yes Men, László Moholy-Nagy, Srinivas Aditya Mopidevi, Craig Saper, Erhan Muratoglu, Charu Maithani, Ami Clarke, Tom Sherman, Raqs Media Collective, Benjamin Weil Mit Press.
It reexamines work by artists of the 1960s to early 1980s, from Les Levine and N. To general idea and Jenny Holzer, whose prescient grasp of information's significance resonates today.
Materiality Whitechapel: Documents of Contemporary ArtThe MIT Press #ad - Mit Pr. Essays consider recent artistic and critical approaches to materiality, focusing on the moments when materials become willful actors and agents within artistic processes. Materiality has reappeared as a highly contested topic in recent art. Modernist criticism tended to privilege form over matter―considering material as the essentialized basis of medium specificity―and technically based approaches in art history reinforced connoisseurship through the science of artistic materials.
It reexamines the notion of “dematerialization”; addresses materialist critiques of artistic production; surveys relationships between matter and bodies, from the hierarchies of gender to the abject and phobic; explores the vitality of substances; and addresses the concepts of intermateriality and transmateriality emerging in the hybrid zones of digital experimentation.
Artists surveyed include georges adéagbo, chohreh feyzdjou, jimmie durham, robert smithson, paul vanouse, artur barrio, anthony mccall, mark dion, romuald Hazoumè, Mike Kelley, Pierre Huyghe, Tessa Farmer, Amy Balkin, Shozo Shimamoto, Teresa Margolles, Michelangelo Pistoletto, Robert Morris, Santiago Sierra, Paul Thek, Tino Sehgal, Simon Starling, Carl Andre, Helen Chadwick, Mierle Laderman Ukeles, Janine Antoni, Mel Chin, Ilya Kabakov, Kara WalkerWriters include Joseph D.
Materiality Whitechapel: Documents of Contemporary Art #ad - . And it looks at the ways in which materials obstruct, or interfere with social norms, disrupt, emerging as impure formations and messy, unstable substances. It investigates the role of materiality in art that attempts to expand notions of time, space, process, or participation. Amato, dietmar rübel, elizabeth grosz, georges didi-huberman, jens hauser, judith butler, Natasha Eaton, Tim Ingold, Karen Barad, Esther Leslie, Wolfgang Kemp, Dieter Hoffmann-Axthelm, Julia Kristeva, Jean-François Lyotard, Monika Wagner, Gillian Whiteley Mit Press.
But in order to engage critically with the meaning, milk in the work of Dieter Roth, or latex in the sculptures of Eva Hesse, of hair in David Hammons's installations, for example, we need a very different set of methodological tools.
Sound Whitechapel: Documents of Contemporary ArtThe MIT Press #ad - This volume is the first sourcebook to provide, through original critical writings and artists' statements, philosophical reflections on the meanings of noise and silence, a genealogy of sonic pathways into the arts, dialogues between art and music, investigations of the role of listening and acoustic space, and a comprehensive survey of sound works by international artists from the avant-garde era to the present.
Tuning into this incessant auditory stimulus, cultural, some of our most influential artists have investigated the corporeal, and political resonance of sound. Artists working with sound have engaged in new forms of aesthetic encounter with the city and nature, the everyday and cultural otherness, technological effects and psychological states.
Sound Whitechapel: Documents of Contemporary Art #ad - Mit Pr. The "sonic turn" in recent art reflects a wider cultural awareness that sight no longer dominates our perception or understanding of contemporary reality. The background buzz of myriad mechanically reproduced sounds increasingly mediates our lives. Mit Press. But the equally important rise of sound in the arts since 1960 has so far been sparsely documented.
In tandem with recent experimental music and technology, art has opened up to hitherto excluded dimensions of noise, silence, and the act of listening. New perspectives on sound have generated a wave of scholarship in musicology, cultural studies, and the social sciences.
Practice Whitechapel: Documents of Contemporary ArtThe MIT Press #ad - Mit Pr. The first anthology to investigate what contemporary notions of practice mean for art, tracing their development and speculating on where this leads. Practice” is one of the key words of contemporary art, used in contexts ranging from artists' descriptions of their practice to curatorial practice, from social practice to practice-based research.
Preciado, isabelle stengers, lane relyea, Suely Rolnik, Peter Sloterdijk, Winnie Won Yin Wong Mit Press. Montano, stelarc, pierre bourdieu, aliza shvarts, carolee schneemann, rammellzee, alain badiou, jennifer doyle, adrian piper, nadezhda tolokonnikova, fiona Tan, Situationist International, Pauline Oliveros, Gregg Bordowitz, Julia Bryan-Wilson, Lauren Berlant, Judith Butler, Giorgio Agamben, Okwui Enwezor, Jonas Staal, Gregory Sholette, Min Tanaka, Raivo Puusemp, Cecilia VicuñaWriters includeKathy Acker, Louis Althusser, Hannah Arendt, Gerhard Richter, Yoko Ono, Miriam Schapiro, Saidiya V.
Hartman, saba mahmood, fred moten, Julia Kristeva, Maulana Karenga, Viktor Misiano, Paul B. Once used to denote “doing, or rehearsal, discipline, ” as distinct from thinking and making, and signal a shift away from the self-enclosed artwork or medium to open-ended actions, today the term can convey associations of political action praxis, series, processes, professional activity, and projects.
This book offers an indispensible guide to the art history and theoretical framework of art-as-practice, clarifying the complex issues at stake in thinking about and enacting practice. Artists surveyed includearakawa, tehching hsieh, andrea Fraser, AA Bronson, Madeline Gins, Lygia Clark, Judy Chicago, Rebecca Belmore, Henri Michaux, Mary Kelly, Linda M.
Practice Whitechapel: Documents of Contemporary Art #ad - Although the turn to practice might promise freedom from finality or eventfulness, it also reflects the neoliberal pressures to train oneself, to perform, and to rehearse a marketable set of skills. This is the first anthology to investigate what contemporary notions of practice mean for art, tracing their development and speculating on where this leads.
Failure Whitechapel: Documents of Contemporary ArtThe MIT Press #ad - The abstract possibilities opened up by failure are further reinforced by the problems of physically realizing artworks―wrestling with ideas, representation, and object-making. Celebrating failed promises and myths of the avant-garde, or setting out to realize seemingly impossible tasks, artists have actively claimed the space of failure to propose a resistant view of the world.
Between the two subjective poles of success and failure lies a space of potentially productive operations where paradox rules and dogma is refused. Here success is deemed overrated, doubt embraced, experimentation encouraged, and risk considered a viable strategy. Mit Pr. Failure identifies moments of thought that have eschewed consensus, choosing to address questions rather than answers.
Artists surveyed include bas jan ader, félix gonzález-torres, martin creed, phil collins, gilles deleuze, fischli & weiss, yvonne rainer, bazon brock, russell ferguson, francis alÿs, ceal floyer, janette parris, karl popper, jean-yves jouannais, wade guyton, edgar schmitz, Bruce Nauman, Hans-Joachim Müller, Richard Hylton, Dieter Roth, International Necronautical Society, Emma Cocker, Simon Patterson, Chris Burden, Daniel Birnbaum, Samuel Beckett, Johanna Burton, John Baldessari, Ray Johnson, Annika Ström, David Critchley, Isa Genzken, Lisa Lee, Mike Kelley, Allen Ruppersberg, William WegmanWriters include Giorgio Agamben, Dominique Gonzalez-Foerster, Stuart Morgan, Jennifer Higgie, Martin Kippenberger, Ann Goldstein, Michael Krebber, Paul Thek, Jörg Heiser, Robert Rauschenberg, Roman Signer, Coosje van Bruggen Mit Press.
Failure Whitechapel: Documents of Contemporary Art #ad - This collection of writings, polemics, mediations, fictions, statements, and discussions identifies failure as a core concern in cultural production. Investigations of failure as a key concern―as theme, strategy, and world view―of recent art. Amid the global uncertainties of our times, failure has become a central subject of investigation in recent art.
The Object Whitechapel: Documents of Contemporary ArtThe MIT Press #ad - Discussions of the object as a key to understanding central aspects of modern and contemporary art. Artists increasingly refer to “post-object-based” work while theorists engage with material artifacts in culture. Bhabha, gérard wajcman, georges perec, ferreira gullar, charles harrison, ewa lajer-burcharth, jean-françois lyotard, ursula meyer, hans-jörg Rheinberger, Jean Fisher, Jack Burnham, Gillo Dorfles, Dieter Roelstraete, Lynne Cooke, Howard Singerman, Marcus Steinweg, Julia Kristeva, Bracha Lichtenberg-Ettinger, Bruno Munari, Anne Wagner, Lev Manovich, Bruno Latour, Nancy Spector, Paulo Herkenhoff, Slavoj Žižek Mit Press.
The object becomes a prism through which to reread contemporary art and better understand its recent past. Artists surveyed includegeorges adéagbo, louise bourgeois, meschac gaba, luca frei, fischli & weiss, art in ruins, gruppe geflecht, brian collier, jimmie durham, eva hesse, John Latham, Eva Rothschild, Aura Satz, Josef Strau, Gustav Metzger, Hito Steyerl, Isa Genzken, Lygia Clark, Falke Pisano, Pavel Büchler, Kenneth Snelson, Antje Majewski, Joëlle Tuerlinckx, Gabriel Orozco, Cady Noland, Iain Baxter, Mike Kelley, Alina Szapocznikow, Adrian Piper, Claude Closky, Erwin WurmWriters include Homi K.
The Object Whitechapel: Documents of Contemporary Art #ad - This anthology surveys such reappraisals of what constitutes the “objectness” of production, with art as its focus. Virtual imaging enables the object to be abstracted or circumvented, while immaterial forms of labor challenge materialist theories. A focus on “object-based” learning treats objects as vectors for dialogue across disciplines.
Among the topics it examines are the relation of the object to subjectivity; distinctions between objects and things; the significance of the object's transition from inert mass to tool or artifact; and the meanings of the everyday in the found object, loss in the absent object, repetition in the replicated or multiple object, and abjection in the formless or degraded object.
Memory Whitechapel: Documents of Contemporary ArtThe MIT Press #ad - It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of “active” forgetting. Mit Pr. Investigations into the wide array of artistic relationships to memory, and forgetting, repetition and reappearance, in artworks from the late 1940s to the present.
This anthology investigates the turn in art not only towards archives and histories, in themselves, the relics of modernities past, but toward the phenomena, of “haunting” and the activation of memory. Art that engages with memory embodied in material and spatial conditions is examined beside works that reflect upon memory's effects through time, and yet others that enlist the agency of remembrance or forgetting to work through aspects of the numerous pasts by which the present is always haunted.
Memory Whitechapel: Documents of Contemporary Art #ad - Its discussions encompass artworks from the late 1940s onward, ranging from reperformances such as Marina Abramovic's Seven Easy Pieces embodied resurrections of decades-removed performance pieces by her contemporaries to the inanimate trace of “memory” Robert Morris assigns to his free-form felt pieces, which “forget” in their present configurations their previous slides and falls.
Contextualizing memory's role in visual theory and aesthetic politics―from Marcel Proust's optics to Bernard Stiegler's analysis of memory's “industrialization”―this collection also surveys the diversity of situations and registers in which contemporary artists explore memory. Mit Press.
Moving Image Whitechapel: Documents of Contemporary ArtThe MIT Press #ad - Uroskie, ian white, maxa Zoller, Thomas Zummer Mit Press. Masters, Andrew V. Minh-ha, christa blümlinger, bill ViolaWriters include Robert Bird, Claire Bishop, Jonathan Crary, T. J. Demos, jean fisher, félix guattari, shanay Jhaveri, Tim Griffin, Francesco Manacorda, Andrew Grossman, Sven Lütticken, H. G.
Ramani, ben rivers, ryan Trecartin, Pipilotti Rist, Trinh T. An examination of the expanded field of moving image-based art that has emerged alongside digital media. This anthology examines the expanded field of the moving image in recent art, experimental film, body art, tracing the genealogies of contemporary moving image work in performance, installation, and site-specific art from the 1960s to the present day.
Moving Image Whitechapel: Documents of Contemporary Art #ad - Contextualizing new developments made possible by advances in digital and networked technology, it locates contemporary practice within a global framework. Among the issues it examines are how new technologies, forms of apparatus, and modes of editing or framing affect innovations in artistic practice and strategy; how work is defined by local contexts, and the tensions that can arise when the local is represented globally; how we define a 'third space' for the filmic image and whether an installation area can be abstracted from geography; how performance-based work in this field explores bodies as borders or territories; the ways in which political, pedagogical, and collective forms of practice have affected the moving image; and the new platforms and modes of viewing that are evolving in response to the globally distributed condition of contemporary media.
Artists surveyed include jananne al-ani, olafur eliasson, karen mirza, oreet ashery, ed atkins, judith barry, anja kirschner, nam june paik, valie export, gary hill, yuri ancarani, stan douglas, gretchen Bender, Dara Birnbaum, Minerva Cuevas, Melanie Gilligan, Olga Chernysheva, Joana Hadjithomas, William Kentridge, Steve McQueen, Harun Farocki, Susan Hiller, Omer Fast, Black Audio Film Collective, Brad Butler, Luther Price, Rabih Mroué, Jumana Manna, Morgan Fisher, Hollis Frampton, James Coleman, Francis Alÿs, Otolith Group, Yvonne Rainer, R.
Exhibition Whitechapel: Documents of Contemporary ArtThe MIT Press #ad - The texts encompass exhibition design and form; exhibitions that are object-based, live, or discursive; projects that no longer rely on a physical space to be visited in person; artists' responses to being curated and their reflections on the potential of acting curatorially. Mit Pr. Lippard, Miguel A. A multivocal critique that emphasizes the crucial role of artists in questioning and shaping the phenomenon of the exhibition.
This anthology provides a multivocal critique of the exhibition of contemporary art, bringing together the writings of artists, curators, and theorists. López, seth siegelaub, margarita tupitsyn, yvonne rainer, anton vidokle, Marion von Osten, Moira Roth, Chika Okeke-Agulu, El Hadji Sy, Wan-kyung Sung, David Teh, Stuart Morgan, Peter Wollen Mit Press.
Exhibition Whitechapel: Documents of Contemporary Art #ad - . Set against the rise of the curator as an influential force in the contemporary art world, this volume underlines the crucial role of artists in questioning and shaping the phenomenon of the exhibition. Artists surveyed includerasheed araeen, piero gilardi, hou hanru, matsuzawa yutaka, richard hamilton, konrad lueg, charles esche, huang rui, situationist international, ruangrupa, elena filipovic, pablo lafuente, mierle Laderman Ukeles, Lisette Lagnado, Liam Gillick, Patricia Falguières, Group Material, Palle Nielsen, Art & Language, Daniel Buren, Victor Pasmore, Thelma Golden, Glenn Ligon, Patrick Flores, Martin Beck, OHO Marko Pogagnik, Andrea Fraser, Katsuhiro YamaguchiWriters includeJudith Barry, Louise Lawler, Laboratoire Agit-Art, AA Bronson, Philippe Parreno, Geeta Kapur, Gerhard Richter, Hélio Oiticica, Andy Warhol, Raqs Media Collective, Graciela Carnevale, Lucy R.
Collectively these diverse perspectives are united by the notion that although the focus for modernist discussion was individual works of art, it is the exhibition that is the prime cultural carrier of contemporaneity.