Andrew V. Uroskie: Between the Black Box and the White Cube: Expanded Cinema and Postwar Art (2014)

6 October 2018, dusan

“Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art.

Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.”

Publisher University of Chicago Press, 2014
ISBN 9780226842981, 0226842983
x+273 pages

Reviews: Amanda Egbe (Leonardo, 2014), Rick Sieber (ARLIS/NA Reviews, 2014), Matilde Nardelli (Visual Studies, 2015), Kenneth White (CAA Reviews, 2015), Michael Zryd (Millennium Film Journal, 2015), Riccardo Venturi (Critique d’art, 2016, French).

Publisher
WorldCat

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Hito Steyerl: Duty Free Art: Art in the Age of Planetary Civil War (2017)

21 December 2017, dusan

“What is the function of art in the era of digital globalization?

How can one think of art institutions in an age defined by planetary civil war, growing inequality, and proprietary digital technology? The boundaries of such institutions have grown fuzzy. They extend from a region where the audience is pumped for tweets to a future of “neurocurating,” in which paintings surveil their audience via facial recognition and eye tracking to assess their popularity and to scan for suspicious activity.

In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age.

What can we do when arms manufacturers sponsor museums, and some of the world’s most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.”

Publisher Verso, London, 2017
Creative Commons BY-NC 4.0 License
ISBN 9781786632432, 1786632438
244 pages

Publisher
WorldCat

EPUB

Adrian Favell: Before and After Superflat: A Short History of Japanese Contemporary Art, 1990-2011 (2012)

21 November 2017, dusan

“Any discussion of Japanese contemporary art inevitably leads to the pop-culture fantasies of Takashi Murakami, Yoshitomo Nara and the other artists of the Superflat movement. But Japan as a whole has changed dramatically after stumbling through a series of economic, social and ecological crises since the collapse of its ‘bubble’ economy in the early 1990s. How did Murakami, Nara and Superflat become the dominant artistic vision of the Japan of today? What lies behind their imagery of a childish and decadent society unable to face up to reality? Written by a sociologist with an eye for sharp observation and clear reportage, Before and After Superflat offers the first comprehensive history in English of the Japanese art world from 1990 up to the tsunami of March 2011, and its struggle to find a voice amidst Japan’s economic decline and China’s economic ascent.”

Publisher Blue Kingfisher, Hong Kong, 2012
ISBN 9789881506412, 9881506417
246 pages
via author

Reviews: Janet Koplos (Art in America, 2012), Ashley Rawlings (Art Space Tokyo, 2012), David Cozy (Japan Times, 2012), Modern Art Asia (2012).

WorldCat

PDF, PDF (4 MB)