Contemporary Art: World Currents argues that, in recent decades, a worldwide shift from modern to contemporary art has occurred. Artists everywhere have embraced the contemporary world’s teeming multiplicity, its proliferating differences and its challenging complexities. This book shows how contemporary art achieved definitive force in the markets and museums of the major art centres during the 1980s.
Amy Dempsey unravels the all-too-often daunting language of modern art by mapping the styles, schools and movements that help us understand modern and contemporary art, from Impressionism in the 19th century to Destination Art in the 21st.
The latest instalment of this indispensable survey of contemporary drawing, chosen by the world’s leading art experts
Over the past 50 years, drawing has been elevated from a supporting role to a primary medium, ranking alongside painting as a central art form. Since the publication of Vitamin D (2005) and D2 (2013), contemporary artists have continued to explore drawing’s possibilities – from intimate to large-scale works, in a diversity of mark-making processes and materials. Vitamin D3 showcases more than 100 such artists, nominated by more than 70 international art experts.
Focusing in particular on his experiments with sound, the moving image and immersive installations, this exhibition book comprises texts on Nauman’s video works of the 1980s and 1990s, as well as on his studio practice and more recent work, along with a conversation between the artist and Andrea Lissoni and Nicholas Serota.
The language in which modern art is described can be even more mystifying than the art itself. Now, a fully updated and expanded edition of the acclaimed “Tate Guide to Modern Art Terms “offers a clear and reliable guide, with more than 450 pithy entries on the full range of international modern and contemporary art.
Akademie X: Lessons in Art + Life brings together a faculty of artists and writers from across the globe, including high profile art educators, such as Marina Abramovic, Carol Bove, Mark Dion, Olafur Eliasson, Dan Graham, Joan Jonas, Miranda July, Bob Nickas, Raqs Media Collective, Neo Rauch, John Stezaker, Richard Wentworth and Christopher Williams.
Art has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market’s fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideological function. Art, Groys writes, is produced and brought before the public in two ways — as a commodity and as a tool of political propaganda. In the contemporary art scene, very little attention is paid to the latter function. Arguing for the inclusion of politically motivated art in contemporary art discourse, Groys considers art produced under totalitarianism, Socialism, and post-Communism. He also considers today’s mainstream Western art — which he finds behaving more and more according the norms of ideological propaganda: produced and exhibited for the masses at international exhibitions, biennials, and festivals. Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself — by positioning itself simultaneously as an image and as a critique of the image. In Art Power, Groys examines this fundamental appropriation that produces the paradoxical object of the modern artwork.
This catalogue documents two art exhibitions, CLEAN and GRIME. CLEAN came first, in 2001, followed by GRIME in 2002. Reader’s access CLEAN from one end of the catalogue, GRIME from the other …”–Page  (both sections). CD-ROM includes artists’ portfolios, artists’ biographies, essays, press statements, and reviews.
Arguably the most significant book on printmaking published in the last five years, showcasing rare works on paper created for the Paragon Press by 25 leading artists – including The Chapman Brothers, Peter Doig, Damien Hirst and Gary Hume. Edited by Patrick Elliott. Designed by Peter Willberg.
‘I provide the board, the pieces and the dice, but you are the ones that have to play’-Douglas Gordon
Over the past decade Douglas Gordon has received recognition as one of the most exciting and challenging British artist working today. His deployment of
The act of drawing has long been considered the foundation of an artistic education, and the life class essential to the formation of an artists style and technique. Yet in the contemporary art world drawing is increasingly regarded as a medium in its own right, and the figure as a subject for ongoing exploration well beyond the sketchbook.
“Some of the most interesting insights are about cultural changes. . . Fascinating details. The most original parts of the book are the chapters on the unsung heroes of publishing: typographers, designers, printers and illustrators. Nyburg creates a picture of a whole visual culture. These extraordinarily cultured individuals didn’t just affect art books. They made British culture, once notoriously parochial and wordy, more cosmopolitan and more visual.” – Jewish Renaissance
Far more than being about a single artwork, this book participates in the myriad conversations and debates on the meaning of public art. The essays prise open critical questions about public space in Johannesburg; Oliver Barstow’s interviews with the various collaborators on the sculpture reveal the complexities and challenges of creating such a massive work in so short a time; and the images by John Hodgkiss of the making of the sculpture, alongside two photo essays suggest the metaphorical power of Fire Walker as well as the fragile hold of street vendors over their small share of city space.