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Books on the topic 'Contemporary art production'

Author: Grafiati

Published: 9 March 2023

Last updated: 10 March 2023

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1

Marilyn, Martin, Mtshiza Zola, Rose Art Museum, South African National Gallery, and Iziko Museums of Cape Town, eds. Coexistence: Contemporary cultural production in South Africa. Waltham, Mass: Rose Art Museum, Brandeis University, 2003.

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2

On knowledge production: A critical reader in contemporary art. Utrecht: BAK, 2008.

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3

Chieh-Jen, Chen. The Bianwen Book: Images, Production, Action and Documents of Chen Chieh-Jen. Taipei, Taiwan: The Cube Project Space, 2015.

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4

Murphy, Jill, and Laura Rascaroli, eds. Theorizing Film Through Contemporary Art. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467.

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As the cinematic experience becomes subsumed into today's ubiquitous technologies of seeing, contemporary artworks lift the cinematic out of the immateriality of the film screen and separate it into its physical components within the gallery space. How to read these reformulations of the cinematic medium - and their critique of what it is and has been? In Theorizing Cinema Through Contemporary Art: Expanding Cinema, leading film theorists consider artworks that incorporate, restage, and re-present cinema's configuration of the key categories of space, experience, presence/absence, production and consumption, technology, myth, perception, event, and temporality, so interrogating the creation, appraisal, and evolution of film theory as channeled through contemporary art. This book takes film theory as a blueprint for the moving image, and juxtaposes it with artworks that render cinema as a material object. In the process, it unfolds a complex relationship between a theory and a practice that have commonly been seen as virtually incompatible, renewing our understanding of each and, more to the point, their interactions.

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5

Production design in the contemporary American film: A critical study of 23 movies and their designers. Jefferson, N.C: McFarland, 1997.

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6

The Production of Lateness: Old Age and Creativity in Contemporary Narrative. Tübingen: Narr Francke Attempto, 2020.

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7

Colin, Ledwith, Staple Polly, and Museo d'arte contemporanea Donnaregina, eds. You have not been honest: Contemporary film and video from the UK. London: British Council, 2007.

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8

(Firm), Sotheby's, ed. Russian avant-garde and Soviet contemporary art: The property of members of the All Union Artistic Production Association named after E.V. Vuchetich.. London, Eng: Sotheby's, 1988.

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9

Mudimbe, V. Y. Contemporary African cultural productions: Production culturelles africaines contemporaines. Dakar: CODESRIA, Council for the Development of Social Science Research in Africa, 2013.

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10

Contemporary European theatre directors. London: Routledge, 2010.

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11

Authoring performance: The director in contemporary theatre. New York: Palgrave Macmillan, 2011.

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12

Richmond, Dick. Produced by Contemporary. St. Louis, Mo: Published for Contemporary Productions by Virginia Pub. Co., 2008.

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13

M, Delgado Maria, and Rebellato Dan 1968-, eds. Contemporary European theatre directors: A companion. New York: Routledge, 2010.

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14

Mis-directing the play: An argument against contemporary theatre. Chicago: I.R. Dee, 2001.

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15

Bolay, Jean-Marie, and Bénédicte Le Pimpec. Faire, faire faire, ne pas faire: Entretiens sur la production de l'art contemporain. Dijon: Les Presses du réel, 2021.

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16

Greenaway, Peter. Peter Greenaway: Cine y pintura : ubicuidades y artificios. Ciudad de México: Museo Rufino Tamayo, 1997.

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17

Greenaway, Peter. Papers =: Papiers. Paris: Dis Voir, 1990.

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18

Greenaway, Peter. Fear of drowning by numbers règles du yeu. Paris: Dis Voir, 1996.

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19

Greenaway, Peter. Peter Greenaway: Artworks, 63-98. Manchester: Manchester University Press ; New York, N.Y. : Distributed exclusively in the USA by St. Martin's Press, 1998.

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20

Greenaway, Peter. Peter Greenaway: Interviews. Jackson: University Press of Mississippi, 2000.

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21

1964-, Tasker Yvonne, ed. Fifty contemporary film directors. 2nd ed. New York, NY: Routledge, 2010.

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22

Steven, Gration, and Peelgrane Nicky, eds. Commedia Oz: Playing Commedia in contemporary Australia. Strawberry Hills, NSW: Currency Press, 2008.

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23

Jonathan, Harris. Terrorism and the Arts: Practices and Critiques in Contemporary Cultural Production. Taylor & Francis Group, 2021.

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24

Jonathan, Harris. Terrorism and the Arts: Practices and Critiques in Contemporary Cultural Production. Taylor & Francis Group, 2021.

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25

Jonathan, Harris. Terrorism and the Arts: Practices and Critiques in Contemporary Cultural Production. Taylor & Francis Group, 2021.

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26

Roberts, Bill. Art, Design and Capital since The 1980s: Production by Design. Taylor & Francis Group, 2019.

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27

Roberts, Bill. Art, Design and Capital since The 1980s: Production by Design. Taylor & Francis Group, 2019.

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28

Roberts, Bill. Art, Design and Capital since The 1980s: Production by Design. Taylor & Francis Group, 2019.

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29

Roberts, Bill. Art, Design and Capital since The 1980s: Production by Design. Taylor & Francis Group, 2019.

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30

Fiona, Campbell. BorderLine archaeology: A practice of contemporary archaeology--exploring aspects of creative narratives and performative cultural production. Dept. of Archaeology, Göteborg University, c2004., 2004.

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31

Chicago, Art Institute of, and Museum of Modern Art (New York, N.Y.), eds. Christopher Williams: The production line of happiness. 2014.

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32

Heisner, Beverly. Production Design in the Contemporary American Film: A Critical Study of 23 Movies and Their Designers. McFarland & Company, 2004.

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33

Monahan, Torin. Crisis Vision: Race and the Cultural Production of Surveillance. Duke University Press, 2022.

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34

Daina, Augaitis, Pakasaar Helga, and Walter Phillips Gallery, eds. Heroics, a critical view: Ida Applebroog ... [et al.] : February 2-28, 1988, Walter Phillips Gallery for the production, presentation and exhibition of contemporary art. Banff, AB, Canada: The Gallery, 1988.

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35

Mould, Stephen. Curating Opera: Reinventing the Past Through Museums of Opera and Art. Routledge, Chapman & Hall, Incorporated, 2022.

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36

Mould, Stephen. Curating Opera: Reinventing the Past Through Museums of Opera and Art. Taylor & Francis Group, 2021.

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37

Mould, Stephen. Curating Opera: Reinventing the Past Through Museums of Opera and Art. Taylor & Francis Group, 2021.

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38

Mould, Stephen. Curating Opera: Reinventing the Past Through Museums of Opera and Art. Taylor & Francis Group, 2021.

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39

Mould, Stephen. Curating Opera: Reinventing the Past Through Museums of Opera and Art. Taylor & Francis Group, 2021.

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40

Zepke, Stephen. Sublime Art. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748669998.001.0001.

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The book analyses recent philosophical discussions of Kant’s theory of the sublime, and the artistic examples these give or provoke, in order to construct a diagram of sublime contemporary art. This diagram will have the immediate aim of producing a new genealogy of post-war art that avoids the modern/postmodern rupture, in favour of a sublime art that can utilise both traditional and new media and has the production of the future as its political goal. The book will draw on both philosophical discourse and art history and theory in making its argument. The introduction will give an account of the historical emergence of the sublime, concentrating on Kant. The following five chapters will each discuss a contemporary philosopher’s reading of Kant’s sublime (Lyotard, Derrida, Deleuze and Guattari, Rancière, Jameson), and also consider their artistic examples. From this will be drawn a diagram of sublime art that incorporates the most useful aspects of each thinker, and also outlines a new genealogy of post-war art. The sixth chapter will then use this diagram, and its artistic genealogy, to offer a theory of contemporary artistic practices as an aesthetic politics (ie., a biopolitics) that overcomes the current (postmodern) impasse between art and life. The conclusion will project this new diagram into the future.

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41

Goehr, Lydia. Art and Politics. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0027.

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This article focuses on one issue in the wide-ranging, contemporary debates on the relation between art and politics, namely, philosophy's role in these debates and the contribution it makes. In the background, this survey acknowledges that philosophy may provide useful conceptual clarification regarding the many ways the arts engage in and with the political sphere, for example in the production of propaganda art and the uses of images in mass media; the use of the arts in identity politics and political demonstration; institutional histories and in the marketing and consuming of art products; issues of censorship and international law pertaining to the return of stolen art. However, in the foreground this survey treats the question more abstractly. It focuses on three relations: disenfranchisement, distantiationy, and indirectness.

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42

Gover, K. E. Art and Authority. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768692.001.0001.

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Art and Authority is a philosophical essay on artistic authority and freedom: its sources, nature, and limits. It draws upon real-world cases and controversies in contemporary visual art and connects them to significant theories in the philosophical literature on art and aesthetics. Artworks, it is widely agreed, are the products of intentional human activity. And yet they are different from other kinds of artifacts; for one thing, they are meaningful. It is often presumed that artworks are an extension of their makers’ personality in ways that other kinds of artifacts are not. This is clear from our recognition that an artist continues to own his or her creation even once the art object, in which the artwork inheres, belongs to another. But it is far from clear how or why artists acquire this authority, and whether it originates from a special, intimate bond between artist and artwork. In response to these questions, the book argues for a ‘dual-intention theory’ of artistic authorship, in which it is claimed that authorship entails two orders of intention. The first, ‘generative’ moment, names the intentions that lead to the production of an artwork. The second, ‘evaluative’ moment, names the decision in which the artist decides whether or not to accept the artwork as part of their corpus.

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43

Schenker, Christoph, ed. Inventory and Hinge. Entangled Fields of Research in the Arts. Institute for Contemporary Art Research 2001–2022. DIAPHANES, 2022. http://dx.doi.org/10.4472/9783035805697.

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Inventory and Hinge provides an overview of the research projects performed over the last two decades at the Institute for Contemporary Art Research (IFCAR) of Zurich University of the Arts (ZHdK). It is an inventory because it presents all the projects realized during this period with many figures and illustrations. It is a hinge because links and QR codes grant access to nearly all publications and websites that were created by the individual projects. Artistic work interconnects multiple competencies and areas of knowledge, ways of life and working, and the IFCAR research projects are thus organized in correspondence with this transgressive gesture, which becomes manifest here as interdisciplinary, networked knowledge production. The cultivation of these complexities has been a mission of the IFCAR since its inception. Throughout these pioneering years the IFCAR has always seen its task in the promotion of research competency in the fine arts, and in providing support for the conception and execution of concrete projects. Although art as research has a long tradition outside of institutions, this task meant nothing less than introducing a new research discipline into the context of knowledge and establishing a new genre in the context of art. Each of the projects presented in this book involves research through the process of creation—but they often also conduct a metadiscourse on artistic research itself.

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44

McLean, Adrienne L., Drake Stutesman, Prudence Black, and Mary Desjardins. Costume, Makeup, and Hair. Rutgers University Press, 2016.

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45

McLean, Adrienne L. Costume, Makeup and Hair. Bloomsbury Publishing Plc, 2016.

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46

McLean, Adrienne L. Costume, Makeup and Hair. Bloomsbury Publishing Plc, 2016.

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47

Costume, Makeup, and Hair. Rutgers University Press, 2016.

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48

McLean, Adrienne L., Drake Stutesman, Prudence Black, and Mary Desjardins. Costume, Makeup, and Hair. Rutgers University Press, 2016.

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49

Jaworski, Adam. Language Ideologies in the Text-Based Art of Xu Bing. Edited by James W. Tollefson and Miguel Pérez-Milans. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190458898.013.34.

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Contemporary art has been a site of intense linguistic production for several decades. Visual artists experiment with new ways of displaying or enframing language that contest or subvert dominant language ideologies. Thus artists produce new regimes of language that regulate or unsettle moral or political visions, shaping attitudes and behaviour. The works of the contemporary artist Xu Bing, as well as interpretations of his work by the artist and commentators, demonstrate how artistic production and criticism contribute to language ideological debates about Chinese—in particular, about Chinese writing—and the nature of language more broadly. This chapter discusses aspects of Xu Bing’s biography and artistic practice related to his use of language. It discusses the language ideological positions underpinning four of his major works. It concludes with reflections on what language policy and planning scholars might learn from extending the scope of their interest to text-based art.

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50

Patterson, Robert J., ed. Black Cultural Production after Civil Rights. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042775.001.0001.

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Through its analysis of film, drama, fiction, visual culture, poetry, and other cultural -artifacts, Black Cultural Production after Civil Rights offers a fresh examination of how the historical paradox by which unprecedented civil rights gains coexist with novel impediments to collectivist black liberation projects. At the beginning of the 1970s, the ethos animating the juridical achievements of the civil rights movement began to wane, and the rise of neoliberalism, a powerful conservative backlash, the co-optation of “race-blind” rhetoric, and the pathologization and criminalization of poverty helped to retrench black inequality in the post-civil rights era. This book uncovers the intricate ways that black cultural production kept imagining how black people could achieve their dreams for freedom, despite abject social and political conditions. While black writers, artists, historians, and critics have taken renewed interest in the historical roots of black un-freedom, Black Cultural Production insists that the 1970s anchors the philosophical, aesthetic, and political debates that animate contemporary debates in African American studies. Black cultural production and producers help us think about how black people might achieve freedom by centralizing the roles black art and artists have had in expanding notions of freedom, democracy, equity, and gender equality. Black cultural production continues to engage in social critique and transformation and remains an important site for the (re)making of black politics.

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