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Philosophy in the Artworld: Some Recent Theories of Contemporary Art
philosophies Article Philosophy in the Artworld: Some Recent Theories of Contemporary Art Terry Smith Department of the History of Art and Architecture, the University of Pittsburgh, Pittsburgh, PA 15213, USA; [email protected] Received: 17 June 2019; Accepted: 8 July 2019; Published: 12 July 2019 Abstract: “The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything. -
Tate Report 08-09
Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements. -
KAWS Media Release
KAWS Media release 6 February–12 June 2016 Longside Gallery and open air Yorkshire Sculpture Park (YSP) presents the first UK museum exhibition by KAWS, the renowned American artist, whose practice includes painting, sculpture, printmaking and design. The exhibition, in the expansive Longside Gallery and open air, features over 20 works: commanding sculptures in bronze, fibreglass, aluminium and wood alongside large, bright canvases immaculately rendered in acrylic paint – some created especially for the exhibition. The Park’s historically designed landscape becomes home to a series of monumental and imposing sculptures, including a new six-metre-tall work, which take KAWS’s idiosyncratic form of almost-recognisable characters in the process of growing up. Brooklyn-based KAWS is considered one of the most relevant artists of his generation. His influential work engages people across the generations with contemporary art and especially opens popular culture to young and diverse audiences. A dynamic cultural force across art, music and fashion, KAWS’s work possesses a wry humour with a singular vernacular marked by bold gestures and fastidious production. In the 1990s, KAWS conceived the soft skull with crossbones and crossed-out eyes which would become his signature iconography, subverting and abstracting cartoon figures. He stands within an art historical trajectory that includes artists such as Claes Oldenburg and Jeff Koons, developing a practice that merges fine art and merchandising with a desire to communicate within the public realm. Initially through collaborations with global brands, and then in his own right, KAWS has moved beyond the sphere of the art market to occupy a unique position of international appeal. -
Tate Report 2010-11: List of Tate Archive Accessions
Tate Report 10–11 Tate Tate Report 10 –11 It is the exceptional generosity and vision If you would like to find out more about Published 2011 by of individuals, corporations and numerous how you can become involved and help order of the Tate Trustees by Tate private foundations and public-sector bodies support Tate, please contact us at: Publishing, a division of Tate Enterprises that has helped Tate to become what it is Ltd, Millbank, London SW1P 4RG today and enabled us to: Development Office www.tate.org.uk/publishing Tate Offer innovative, landmark exhibitions Millbank © Tate 2011 and Collection displays London SW1P 4RG ISBN 978-1-84976-044-7 Tel +44 (0)20 7887 4900 Develop imaginative learning programmes Fax +44 (0)20 7887 8738 A catalogue record for this book is available from the British Library Strengthen and extend the range of our American Patrons of Tate Collection, and conserve and care for it Every effort has been made to locate the 520 West 27 Street Unit 404 copyright owners of images included in New York, NY 10001 Advance innovative scholarship and research this report and to meet their requirements. USA The publishers apologise for any Tel +1 212 643 2818 Ensure that our galleries are accessible and omissions, which they will be pleased Fax +1 212 643 1001 continue to meet the needs of our visitors. to rectify at the earliest opportunity. Or visit us at Produced, written and edited by www.tate.org.uk/support Helen Beeckmans, Oliver Bennett, Lee Cheshire, Ruth Findlay, Masina Frost, Tate Directors serving in 2010-11 Celeste -
13Th 20Th March 2015 the Pennine Film Festival Is a Premiere Event at the Heart of Lancashire That Develops and Inspires Young and New Filmmakers
13TH 20TH March 2015 The Pennine Film Festival is a premiere event at the heart of Lancashire that develops and inspires young and new filmmakers. Printed by Peter Scott Printers Ltd Welcome to the Ninth Pennine Film Festival Last year’s festival was a massive success and we are hoping that this year’s will be bigger and better. Most events are FREE to the public but numbers are limited. To book your place for any of the events this Tickets are also available from the week, please contact Kay Aspinall at the Information Centre at Accrington Town Hall: Coppice Theatre: 01254 380293 01254 354097 www.hyndburnleisure.ticketsource.co.uk [email protected] www.penninefilm.com Stephen Murphy - Event coordinator Call: 01254 354 227 | Email: [email protected] /PennineFilmFestival @PennineFilmFest /PenFilmFest Pen9 Film Festival 2015: at a glance Time Date Time Date Friday 13th Saturday 14th Sunday 15th Monday 16th Tuesday 17th Wednesday 18th Thursday 19th Friday 20th Screening and QnA with Competition College Peter Sellers & The The Peoples Choice Morning QnA of Animator, Screenings: Morning ‘World War 1 Day’ Goons Exhibition Award (10am start ‘2AM’ Barry Purves • Best Narrative (10am start) Coppice Theatre, TV Studio, Coppice Theatre, unless stated) Coppice Theatre, Coppice Theatre, Feature AccRoss College AccRoss College AccRoss College AccRoss College AccRoss College • Best Narrative Short Lunch Lunch ‘Ghostbusters Screening and Screening of Competition Afternoon Day’ QnA of QnA with ‘Flash Gordon’ Afternoon Screenings: (1pm start The Church of St ‘East’ Sound Engineer Dean Covill Coppice Theatre, (1pm start) • Best Docu Feature unless stated) James, Accrington, Coppice Theatre, Coppice Theatre, AccRoss College AccRoss College • Best Docu Short 2pm AccRoss College Screening and Screening of Evening QnA of The Wrap Party ‘The Exorcist’ Evening (7pm start ‘Get Carter’ Grants Bar, Accrington Town (7pm start) Accrington Town Accrington, 7:30pm unless stated) Hall, 7:30pm Hall, 7:00pm For Coppice Centre call 01254 354 097 or email us at [email protected]. -
Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
T a P E S T R Y T a L
Tapestry Talks - Interview with Steve Conway, writer and director of Electrician (2020). # T A P E S T R Y T A L K S (2020) Thanks for taking the time busters’, completely zoned an independent filmmaker, to speak with us Steve. out watching it on television I think I have always had an I guess we should dive while all this mayhem goes affinity to similar filmmakers straight in! So, where did it on around me. In a way I and films, but it is definitely a all begin - when did you first think that kind of sums me mixed bag to say the least. become interested in film- up. The first two films I can making? I never went to college remember seeing when I or university to study film- was younger which sparked From as young as I can re- making; I tried a few very the notion of ‘I’d love to do member I have always been short courses when I was this’ are on completely dif- obsessed with films. The younger, but I didn’t particu- ferent ends of the spectrum storytelling, imagination and larly enjoy them. I found what - the first being ‘Withnail & I’ escapism of it all, I just loved worked for me best was to and the second being ‘Termi- it. How you can be totally get a camera and to just be nator 2’. transported and immersed constantly filming and ed- Both of those films I am into another world for two iting stuff, literally all of the totally obsessed with but for hours. -
GET CARTER by Ted Lewis with a Special Foreword by Mike Hodges, Director of Get Carter (1971)
FOR IMMEDIATE RELEASE: CONTACT: Paul Oliver Director of Marketing & Publicity [email protected] (212) 260-1900 SYNDICATE BOOKS GET CARTER By Ted Lewis With a special Foreword by Mike Hodges, director of Get Carter (1971) Syndicate Books • Trade Paper /eBook • PUB DATE: September 9th, 2014 • PRICE: $14.95 • Page Count: 217 ISBN: 9781616955038 • eISBN: 9781616955045 • Agent: Toby Eady "Aristotle, when he defined tragedy, mandated that a tragic hero must fall from a great height, but Aristotle never imagined the kind of roadside motels James M. Cain could conjure up or saw the smokestacks rise in the Northern English industrial hell of Ted Lewis's Get Carter." —Dennis Lehane, author of Live by Night “The finest British crime novel I’ve ever read.” —David Peace, author of Red or Dead Famously adapted into the iconic film starring Michael Caine, Get Carter—originally published as Jack’s Return Home—ranks among the most canonical of crime novels. It’s a rainy night in a northern English mill town, and a London fixer named Jack Carter is home for a funeral—his brother Frank’s. Frank was very drunk when he drove his car off a cliff and that doesn’t sit well with Jack. Mild-mannered Frank never touched the stuff. Jack and Frank didn’t exactly like each other. They hadn’t spoken in years and Jack is far from the sentimental type. So it takes more than a few people by surprise when Jack starts plying his trade to get to the bottom of his brother’s death. Then again, Frank’s last name was Carter, and that’s Jack’s name too. -
Film and Media As a Site for Memory in Contemporary Art Domingo Martinez Rosario Universidad Nebrija (Madrid, Spain) E-Mail: [email protected]
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 14 (2017) 157–173 DOI: 10.1515/ausfm-2017-0007 Film and Media as a Site for Memory in Contemporary Art Domingo Martinez Rosario Universidad Nebrija (Madrid, Spain) E-mail: [email protected] Abstract. This article explores the relationship between film, contemporary art and cultural memory. It aims to set out an overview of the use of film and media in artworks dealing with memory, history and the past. In recent decades, film and media projections have become some of the most common mediums employed in art installations, multi-screen artworks, sculptures, multi-media art, as well as many other forms of contemporary art. In order to examine the links between film, contemporary art and memory, I will firstly take a brief look at cultural memory and, secondly, I will set out an overview of some pieces of art that utilize film and video to elucidate historical and mnemonic accounts. Thirdly, I will consider the specific features and challenges of film and media that make them an effective repository in art to represent memory. I will consider the work of artists like Tacita Dean, Krzysztof Wodiczko and Jane and Louise Wilson, whose art is heavily influenced and inspired by concepts of memory, history, nostalgia and melancholy. These artists provide examples of the use of film in art, and they have established contemporary art as a site for memory. Keywords: contemporary art, cultural memory, memory, film, temporality. Introduction Film and video have become two of the most common disciplines of contemporary art in recent decades. -
Billy Childish Flowers, Nudes and Birch Trees: New Paintings 2015 September 10-October 31, 2015 536 West 22Nd Street, New York #Billychildish
Billy Childish flowers, nudes and birch trees: New Paintings 2015 September 10-October 31, 2015 536 West 22nd Street, New York #billychildish Opening Reception: Thursday, September 10, 6-8PM birch wood, 2015, oil and charcoal on linen, 72.05 x 108.07 inches, 183 x 274.5 cm. Courtesy the artist and Lehmann Maupin, New York and Hong Kong. New York, August 11, 2015—Lehmann Maupin is pleased to present its fourth exhibition with British artist Billy Childish, a prolific painter, writer, and musician. The artist’s vivid oil paintings offer fragmented fields of intense color applied frenetically, often leaving charcoal marks and the linen canvas exposed, further emphasizing the immediate and intuitive nature of Childish’s work. The artist will be present for an opening reception at the gallery on Thursday, September 10 from 6-8PM. Working in traditional genres such as portraiture, still life, and landscape, Childish’s paintings are spiritually charged expressions that come from a place of deep personal meaning. These powerful works, including unabashed nudes, self-portraits, and dense woodland scenes, honor the simple nature of being and in the process transcend the ordinary. Eschewing any hint of post-modernist irony in his work, he allows the basics of personal expression to come forth through the fundamentals of painting. A self-proclaimed “Radical Traditionalist,” Childish has said, “The reason I honor tradition is that it provides a form and structure that allows freedom—the ego is subjugated and the requirements of the painting are met. Tradition is not to be worshipped or adored; it is a vehicle to take you to new places, or we could say to arrive at the perennial.” While he is occasionally associated with British groups like the Stuckists and YBAs, Childish does not see himself as connected to a particular contemporary movement; however, he is highly regarded and well known by his peers, including renowned artists Peter Doig and Tracey Emin. -
PRESS RELEASE Wednesday 22 January UNDER EMBARGO Until 10.30 on 22.1.20
PRESS RELEASE Wednesday 22 January UNDER EMBARGO until 10.30 on 22.1.20 Artists launch Art Fund campaign to save Prospect Cottage, Derek Jarman’s home & garden, for the nation – Art Fund launches £3.5 million public appeal to save famous filmmaker’s home – National Heritage Memorial Fund, Art Fund and Linbury Trust give major grants in support of innovative partnership with Tate and Creative Folkestone – Leading artists Tilda Swinton, Tacita Dean, Jeremy Deller, Michael Craig-Martin, Isaac Julien, Howard Sooley, and Wolfgang Tillmans give everyone the chance to own art in return for donations through crowdfunding initiative www.artfund.org/prospect Derek Jarman at Prospect Cottage. Photo: © Howard Sooley Today, Art Fund director Stephen Deuchar announced the launch of Art Fund’s £3.5 million public appeal to save and preserve Prospect Cottage in Dungeness, Kent, the home and garden of visionary filmmaker, artist and activist, Derek Jarman, for the nation. Twitter Facebook artfund.org @artfund theartfund National Art Collections Fund. A charity registered in England and Wales 209174, Scotland SC038331 Art Fund needs to raise £3.5m by 31 March 2020 to purchase Prospect Cottage and to establish a permanently funded programme to conserve and maintain the building, its contents and its garden for the future. Major grants from the National Heritage Memorial Fund, Art Fund, the Linbury Trust, and private donations have already taken the campaign half way towards its target. Art Fund is now calling on the public to make donations of all sizes to raise the funds still needed. Through an innovative partnership between Art Fund, Creative Folkestone and Tate, the success of this campaign will enable continued free public access to the cottage’s internationally celebrated garden, the launch of artist residencies, and guided public visits within the cottage itself. -
Bortolami Gallery Through June 15Th, 2019.” Art Observed, May 30Th, 2019, Illus
BORTOLAMI Virginia Overton (b. 1971 in Nashville, Tennessee) Lives and works in Brooklyn, New York Education 2005 University of Memphis, TN, MFA 2002 University of Memphis, TN, BFA Solo Exhibitions 2019 Água Viva, Bortolami, New York, NY Francesca Pia, Zürich, Switzerland (forthcoming) 2018 Built, Don River Valley Park, Toronto, Canada secret space, Biel, Switzerland Built, Socrates Sculpture Park, Queens, NY Virginia Overton, University of Memphis Fogelman Galleries, Memphis, TN 2017 Why?! Why Did You Take My Log?!?!, Museum of Contemporary Art, Tucson, AZ 2016 Winter Garden, Whitney Museum of American Art, New York, NY White Cube Bermondsey, London, England Sculpture Gardens, Whitney Museum of American Art, New York, NY The Aldrich Contemporary Art Museum, Ridgefield, CT 2015 White Cube, London, England 2014 Flat Rock, Museum of Contemporary Art North Miami, North Miami, FL 2013 Westfälischer Kunstverein, Munster, Germany Kunsthalle Bern, Bern, Switzerland Mitchell-Innes & Nash, New York, NY 2012 The Kitchen, New York, NY Deluxe, The Power Station, Dallas, TX 2011 Freymond-Guth, Zürich, Switzerland 2010 Untitled (Milano), N.O. Gallery, Milan, Italy Cheekwood Museum of Art, Nashville, TN True Grit, Dispatch, New York, NY 2008 Moving on South, curated by Dana Orland, White Box, New York, NY This Is Not A Ladder, Artlab at AMUM, Memphis, TN 39 WALKER STREET NEW YORK NY 10013 T 212 727 2050 BORTOLAMIGALLERY.COM BORTOLAMI 2007 Skytracker, Powerhouse, Memphis, TN Selected Group Exhibitions 2019 Downtown Painting, curated by Alex Katz, Peter