Materiality Whitechapel: Documents of Contemporary Art

The MIT Press #ad - But in order to engage critically with the meaning, for example, or latex in the sculptures of Eva Hesse, milk in the work of Dieter Roth, of hair in David Hammons's installations, we need a very different set of methodological tools. This anthology focuses on the moments when materials become willful actors and agents within artistic processes, entangling their audience in a web of connections.

It investigates the role of materiality in art that attempts to expand notions of time, process, space, or participation. 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.

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.

Materiality Whitechapel: Documents of Contemporary Art #ad - Artists surveyed include georges adéagbo, shozo shimamoto, michelangelo pistoletto, ilya kabakov, jimmie durham, artur barrio, teresa margolles, anthony mcCall, Romuald Hazoumè, Tino Sehgal, Pierre Huyghe, Mark Dion, Simon Starling, Mike Kelley, Amy Balkin, Carl Andre, Santiago Sierra, Robert Smithson, Janine Antoni, Helen Chadwick, Chohreh Feyzdjou, Tessa Farmer, Mel Chin, Paul Thek, Mierle Laderman Ukeles, Robert Morris, Paul Vanouse, Kara WalkerWriters include Joseph D.

Amato, elizabeth grosz, jens hauser, esther leslie, dieter hoffmann-axthelm, karen barad, natasha Eaton, Julia Kristeva, Dietmar Rübel, Jean-François Lyotard, Monika Wagner, Wolfgang Kemp, Georges Didi-Huberman, Judith Butler, Tim Ingold, Gillian Whiteley Mit Pr. And it looks at the ways in which materials obstruct, emerging as impure formations and messy, disrupt, or interfere with social norms, unstable substances.

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.


The Object Whitechapel: Documents of Contemporary Art

The MIT Press #ad - Artists surveyed includegeorges adéagbo, antje majewski, luca frei, gustav metzger, claude closky, hito steyerl, isa genzken, cady noland, louise bourgeois, kenneth snelson, Gruppe Geflecht, Lygia Clark, Aura Satz, Brian Collier, Josef Strau, John Latham, Joëlle Tuerlinckx, Fischli & Weiss, Meschac Gaba, Art in Ruins, Eva Rothschild, Eva Hesse, Mike Kelley, Alina Szapocznikow, Gabriel Orozco, Jimmie Durham, Falke Pisano, Iain Baxter, Pavel Büchler, Adrian Piper, Erwin WurmWriters include Homi K.

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. It also explores artistic positions that are anti-object; theories of the experimental, liminal or mental object; and the role of objects in performance.

The object becomes a prism through which to reread contemporary art and better understand its recent past. Bhabha, jean fisher, lynne cooke, ewa lajer-burcharth, marcus steinweg, anne wagner, georges perec, bruno munari, bruno latour, bracha lichtenberg-Ettinger, Charles Harrison, Lev Manovich, Nancy Spector, Jean-François Lyotard, Paulo Herkenhoff, Jack Burnham, Ferreira Gullar, Hans-Jörg Rheinberger, Julia Kristeva, Gillo Dorfles, Gérard Wajcman, Howard Singerman, Dieter Roelstraete, Ursula Meyer, Slavoj Žižek .

The Object Whitechapel: Documents of Contemporary Art #ad - 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.

Discussions of the object as a key to understanding central aspects of modern and contemporary art.


Memory Whitechapel: Documents of Contemporary Art

The MIT Press #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. 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 - Investigations into the wide array of artistic relationships to memory, repetition and reappearance, and forgetting, 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.

It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of “active” forgetting.


Practice Whitechapel: Documents of Contemporary Art

The MIT Press #ad - 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.

Montano, miriam schapiro, nadezhda tolokonnikova, gregg bordowitz, judith butler, jonas staal, aliza shvarts, lauren berlant, raivo puusemp, gerhard richter, Fiona Tan, Louis Althusser, Adrian Piper, Yoko Ono, Jennifer Doyle, Carolee Schneemann, Hannah Arendt, Min Tanaka, Situationist International, Cecilia VicuñaWriters includeKathy Acker, Giorgio Agamben, Pierre Bourdieu, Gregory Sholette, Pauline Oliveros, Julia Bryan-Wilson, Okwui Enwezor, Alain Badiou, Rammellzee, Stelarc, Saidiya V.

Hartman, maulana karenga, fred moten, Saba Mahmood, Julia Kristeva, Viktor Misiano, Paul B. Preciado, peter sloterdijk, isabelle Stengers, Lane Relyea, Suely Rolnik, Winnie Won Yin Wong . Although the turn to practice might promise freedom from finality or eventfulness, to perform, it also reflects the neoliberal pressures to train oneself, and to rehearse a marketable set of skills.

Reframing the question of practice offers new ways of reading the history of art and of evaluating particular forms of practice-based art. Once used to denote “doing, today the term can convey associations of political action praxis, processes, or rehearsal, and signal a shift away from the self-enclosed artwork or medium to open-ended actions, discipline, series, professional activity, ” as distinct from thinking and making, and projects.

Practice Whitechapel: Documents of Contemporary Art #ad - 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, madeline gins, judy chicago, AA Bronson, Andrea Fraser, Mary Kelly, Rebecca Belmore, Lygia Clark, Henri Michaux, Tehching Hsieh, Linda M.


Craft Whitechapel: Documents of Contemporary Art

The MIT Press #ad - It maps a secret history of craft through lost and overlooked texts that consider pedagogy, folk art, design, the factory, and new media in ways that illuminate our understanding of current art practice. The contributors' reflections on new technologies and materials, and the politics of work all throw light on craft as process, product, lost and found worlds of handwork, and ideology.

A secret history of craft told through lost and overlooked texts that illuminate our understanding of current art practice. Craft” is a contested concept in art history and a vital category through which to understand contemporary art. Craft will serve as a vital resource for understanding technologies, techniques, materials, and tools through the lens of craft in contemporary art.

Artists surveyed includemagdalena abakanowicz, louise bourgeois, martino gamper, carl andre, annie cattrell, karl fritsch, gee's bend quiltmakers, lu shengzhong, harun farocki, anni albers, Sabrina Gschwandtner, Elissa Auther, Phyllida Barlow, Sheila Hicks, El Anatsui, Reyner Banham, Jean Baudrillard, Ettore Sottsas, Bridget Riley, Studio Formafantasma, Edmund de Waal, Francis Upritchard, Mario Merz, Enzo Mari, Aaron Angell, Theaster Gates, Lucio Fontana, Ana Lupas, Neil Brownsword, Martin Puryear, Jessi Reaves, Peter Voulkos Writers includeGlenn Adamson, Ruth Asawa, Donald Judd, Susan S.

Craft Whitechapel: Documents of Contemporary Art #ad - Bean, julia bryan-wilson, john berger, ulrich lehmann, bell hooks, Cathy Gere, Walter Benjamin, Giovanni Contini, Walter Gropius, Henry Heerup, Alfred Gell, Lucy R. Lippard, karl marx, sarat maharaj, nancy Princenthal, John Roberts, Sadie Plant, Rainer Maria Rilke, Kenneth E. Deep anxieties drive today's technophilia, designers, and artists, and makers turn such anxieties into a variety of dynamic engagements.

Craft activism, or craftivism, suggests a new political purpose for the handmade.


Time Whitechapel: Documents of Contemporary Art

The MIT Press #ad - A survey of contemporary art and theory that proposes alternatives to outdated linear models of timeWhat does 'contemporary' actually mean? This is among the fundamental questions about the nature and politics of time that philosophers, artists and more recently curators have investigated over the past two decades.

. This collection surveys contemporary art and theory that proposes a wealth of alternatives to outdated linear models of time. Artists surveyed include marina abramovic, boris groys, mark von schlegellwriters include giorgio agamben, toril johannessen, time/bank, olafur eliasson, elizabeth grosz, tehching hsieh, franco berardi, hito steyerl, on kawara, michel serres, rachel kent, dogen zenji, hans belting, Brian Dillon, Trevor Paglen, Nato Thompson, Walter Benjamin, Daniel Birnbaum, Adrian Heathfield, Bruno Latour, Georges Didi-Huberman, Katie Patterson, Geoffrey Batchen, Joachim Koester, Janet Cardiff, Daniel Rosenberg, Bea Fremderman, Jean-Luc Nancy, Peter Galison, Doreen Massey, Dexter Sinister, Paul Chan, Nancy Spector, Hiroshi Sugimoto, Alexander Nagel, George Kubler, Joshua Foer, Elena Filipovic, nova Milne, Raqs Media Collective, Mieke Bal, Christian Marclay, Francis Alÿs, Michel Siffre, Matthew Buckingham, Simon Starling, Christopher Wood, George Woodcock Used book in Good Condition.

Time Whitechapel: Documents of Contemporary Art #ad - If clock time―a linear measurement that can be unified, unrealized possibility and idleness, non-consummation and counter-productivity, déjà vu and seriality, followed and owned―is largely the invention of capitalist modernity and binds us to its strictures, regression and repetition, how can we extricate ourselves and discover alternative possibilities of experiencing time? Recent art has explored such diverse registers of temporality as wasting and waiting, the belated and the premature, the disjointed and the out-of-sync―all of which go against sequentialist time and index slips in chronological experience.

While such theorists as giorgio agamben and georges didi-huberman have proposed “anachronistic” or “heterochronic” readings of history, artists have opened up the field of time to the extent that the very notion of the contemporary is brought into question.


Systems Whitechapel: Documents of Contemporary Art

The MIT Press #ad - Katherine hayles, niklas luhmann, bruno latour, christian Katti, Stephen Jones, Mary Louise Lobsinger, Humberto Maturana, James Lovelock, Caroline Jones, Donella H. The collected texts examine the connections between advanced technological systems, cross cultural borders, 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, and interact with threatened ecosystems.

Artists surveyed include roy ascott, mitchell whitelaw, sonia sheridan, driessens and verstappen, helen mayer harrison, stephen willats, woody and steina vasulka, michael joaquin Grey, Mary Catherine Bateson, Ken Rinaldo, Casey Reas, David Dunn, Tomás Saraceno, Richard Paul Lohse, Christa Sommerer, James Whitney, Peter Weibel, Cedric Price, Pierre Bourdieu, Ubermorgen, Manfred Mohr, Joan Littlewood, Hans Haacke, Brian Eno, John Whitney, Frank Gillette, Laurent Mignonneau, Iannis XenakisWriters include Gregory Bateson, Nam June Paik, Newton Harrison, R.

Systems Whitechapel: Documents of Contemporary Art #ad - By the 1960s, and stephen willats were breaking with accepted aesthetics to embrace open systems that emphasized organism over mechanism, dynamic processes of interaction among elements, Hans Haacke, Robert Morris, Sonia Sheridan, artists as diverse as Roy Ascott, and the observer's role as an inextricable part of the system.

Crutchfield, francis Halsall, Boris Groys, Usman Haque, N. 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 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.

Buckminster fuller, fritjof Capra, Jack Burnham, Geoff Cox, James P.


Work Whitechapel: Documents of Contemporary Art

The MIT Press #ad - Yet while art increasingly engages with human travail, work's significance in itself is seldom addressed by critics. Auby, mladen Stilinovic, W. A. G. E. Paolo virno, silvia federici, kodwo eshun, achille mbembe, sabeth buchmann, Ève chiapello, artur zmijewskiWriters include Claire Bishop, Antonio Negri, Dietmar Rübel, Julia Bryan-Wilson, Isabelle Graw, Maurizio Lazzarato, Jacques Rancière, Gerald Raunig, Luc Boltanski, Joseph Vogl Used book in Good Condition.

Revealed through this prism was “dematerialized” art's close and critical relation to the emergent information age's criteria of management, production and skill. By 2015, the venice biennale reflected artists' wider concern with global economic and social crises, centered on exploitative and precarious worlds of employment.

Work's meaning both within art and in its wider economic and social context: the complexities of being an art worker in the new economy. Warhol's factory of the 1960s, conceptual and feminist concern with workers' conditions in the 1970s―these are among the antecedents of a renewed focus on the work of art: labor as artistic activity, Minimalism's assembly-line aesthetics, as artistic method and as object of artistic engagement.

In 2002, the “work ethic” exhibition curated by helen molesworth at the Baltimore Museum of Art took its cue from recent art to spotlight this earlier era of artistic practice in which activity became as valid as, and often dispensed with, object-production. This anthology explicitly investigates work in relation to contemporary art, a collaborator, surveying artistic strategies that grapple with the complexities of being an art worker in the new economy, a postproducer, a fabricator, an ethical campaigner, a striker, or would-be transformer of labor from oppression to liberation.

Work Whitechapel: Documents of Contemporary Art #ad - Artists surveyed include pawel althamer, liam gillick, martha rosler, melanie gilligan, ahmet Ögüt, andrea fraser, teresa margolles, jeremy deller, jean-luc moulène, santiago Sierra, Gustav Metzger, Adrian Melis, Alice Creischer, Tino Sehgal, Annette Messager, Tehching Hsieh, Anne Teresa De Keersmaeker, Goshka Macuga, Marwa Arsanios, Harun Farocki, Ana de la Cueva, Lee Lozano, Francis Alÿs, Philip Rizk, Claire Fontaine, Chto Delat, Lamia Joreige, Maria Eichhorn, Gulf Labour Coalition, Tamas St.


Nature Whitechapel: Documents of Contemporary Art

The MIT Press #ad - So too are artistic representations of nature human and otherwise being transformed. This anthology addresses these issues by considering how the rise of transdisciplinary practices in the postwar era allowed for new kinds of artistic engagement with nature. With the dislocation of disciplinary boundaries in visual culture, historical, art that is engaged with nature has also forged connections with a new range of scientific, and philosophical ideas.

These include the postminimalist inscriptions associated with Land art; environmentally engaged practices designed to propose novel forms of stewardship; and more recent projects concerned with relationships between the most subtle and minute components of life and the large-scale appearance of the world.

These projects unsettle the most basic operations of “natural” personhood and identity. Including a wide range of writings by and about artists, juxtaposed with influential texts from diverse theoretical bases, this collection provides an overview of the eclectic scientific and philosophical sources that inform contemporary art's investigations of nature.

Nature Whitechapel: Documents of Contemporary Art #ad - Contemporary artists' radical investigations of nature, juxtaposed with the eclectic scientific and philosophical sources that inform their art. Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. Advances in biological and telecommunication technology continually modify the way we present ourselves.

Used book in Good Condition. Developing technologies make our interventions into natural systems both increasingly refined and profound.


Painting Whitechapel: Documents of Contemporary Art

The MIT Press #ad - The “death of painting” and its subsequent resurrection in transformed conditions is a leitmotif of the modern era. This first anthology to focus on painting's multiple discourses over the last three decades brings together key statements, dialogues, and debates that have moved the conversation beyond the modern/postmodern dialectic while redefining the conditions necessary for an artwork to be described as “painting.

The diversity of contemporary painting's meanings and practices encompasses the randomness and eclecticism associated with Web-based creation. These writings, statements, and interviews reflect ongoing debates and reignite questions for an as yet unimagined future of painting. Essential writings that consider the diverse meanings of contemporary painting since its postconceptual revival.

Painting's postconceptual resurgence at the start of the 1980s began a dramatic expansion of its field. Compiled by a leading critic of painting who actively participated in these conversations while also teaching young artists in the studio classroom, this collection ranges widely, to reflect the diversity of ways in which painting continues to be investigated and evaluated in studios, exhibition spaces, and the marketplace of ideas.

Painting Whitechapel: Documents of Contemporary Art #ad - . Although for many the presence of paint endures, others have argued for painting to be classed not as a material but as a philosophical category. Used book in Good Condition. If painting remains important today, it is because its contradictions have been acknowledged as artists have radically diversified the components of its production and presentation.


Abstraction Whitechapel: Documents of Contemporary Art

The MIT Press #ad - These modes of abstraction opened up new forms of engagement with the phenomenal world as well as the possibility of diverse readings of the same forms, ranging from formalist and transcendental to socio-economic and conceptual. Social abstraction implies stepping aside, a movement away from the mainstream, suggesting the possibilities for art to maneuver within self-organized, withdrawn initiatives in the field of cultural production.

In the 1980s, fredric jameson, the writings of peter halley, social, and others considered an increasingly abstracted world in terms of its economic, and political conditions―all of which were increasingly manifested through abstract codes or sites of style. An examination of contemporary art's engagement with three modes of abstraction.

This anthology reconsiders crucial aspects of abstraction's resurgence in contemporary art, economic abstraction, exploring three equally significant strategies explored in current practice: formal abstraction, and social abstraction. Used book in Good Condition. Barr Jr. Ina blom, peter halley, brian holmes, lynne Cooke, Judi Freeman, Anthony Davies, Fredric Jameson, Joe Houston, Lucy R.

Abstraction Whitechapel: Documents of Contemporary Art #ad - . Artists surveyed include: lee bontecou, jackson pollock, hélio oiticica, blinky palermo, jakob jakobsen, lucas samaras, lygia pape, louise bourgeois, marcel duchamp, mai-thu perret, bridget riley, Liam Gillick, Jean Hélion, Julian Stanczak, Kajsa Dahlberg, Frank Stella, Ferreira Gullar, Tobias Rehberger, Amilcar de Castro, Jasper Johns, Stephan Dillemuth, Lygia Clark, Bruce Nauman, Hito Steyerl, Donald Judd, Emily Roysden, Paul Cézanne, Gardar Eide Einarsson, Sol LeWitt, Wassily Kandinsky, Eva Hesse, Günther Förg, Piet Mondrian, Theo van DoesburgWriters include:Alfred H.

In the 1960s, op art and “eccentric abstraction” disrupted the homogeneity, universality, movements as diverse as Latin American neo-concretism, and rationality associated with abstraction.