The Art World Expands
The Art World Expands
The Art World Expands
contemporary art
~------------- --- ---- - - - - - - - - - - - - - - - - '
JEAN ROBERTSON
HERR ON SC HOOL OF AR T AND DESIGN
IN DIANA UNI VERSITY - PURDUE UN I V ER S ITY INDIANAP OLIS
CRAIG McDANIEL
H ERRO N SCHOOL OF ART AND DESIGN
IN DI ANA UNIVERSITY-PURDUE UN IVERS IT Y I NDIANAPOLIS
n our travels and visits to exhibitions of contemporary art over the past several years,
I
we've encountered many unusual and challenging works of art. Here is a sampling:
Inopportune: Stage One (2004) [1-1] by Cai Guo-Qiang, an installation showing
nine identical white cars suspended in midair and positioned to create the impres-
sion of successive stages of a car flipping over in an explosion from a car bombing,
while long tubes radiating colored light burst out in all directions from the win-
dows (seen in the mid-career survey of the artist 's work shown at the Guggenheim
Museum in New York City in 2008).
Your Blind M ovement (2010) by Olafur Eliasson filled a sequence of rooms with
thick, swirling neon-colored fog, immersing and disorienting visitors, who lost all
bearings (seen in the Martin Gropius Bau in Berlin).
Urban Light (2008) by Chris Burden, consisting of 202 restored cast iron vintage
street lamps arranged like a small grove of trees in a public plaza facing Wilshire
Boulevard in Los Angeles; the installation emits a luminous glow in the evening
(seen in front of the Los Angeles County Museum of Art).
The Eighth Day (2001) [color plates 20 and 21], a "transgenic" artwork by Eduardo
Kac, brought together living, bioengineered, glow-in-the-dark mice, plants, and
fish and a biological robot ("biobot") in an environment housed under a clear four-
'foot-diameter Plexiglas dome (seen at the Institute for Studies in the Arts, Arizona
State University, Tempe). 1
An impressively large painted triptych by Li Tian Yuan (2001), based on a satel-
lite image, shows progressively closer views of the artist and his infant son on the
Great Wall of China (included in an international exhibition of art dealing with the
interface of art and science at the National Museum, Beijing, China) .
A re-creation of Gino de Dominicis's .controversial 1972 Second Solution of
Immortality: The Universe Is Immobile, staged by the Wrong Gallery, situated a
woman with Down syndrome in a nearly empty gallery, where she sat staring at a
simple arrangement of symbolic objects (seen at the 2006 Frieze art fair in London,
7
where the stillness of the performance piece stood in stark contrast to the frenetic
sensory overload elsewhere at the fair). 2
As these examples hint, the world of contemporary art is rich, diverse, and unpre-
dictable. Although painting, photography, sculpture, drawing, and the crafts still attract
a large number of practitioners, these familiar forms of art no longer subsume the field.
Film, video, audio, installation, performance, texts, and computers are common media
today, and artists are often fluent in several media. Artists freely mix media, or they
may practice a medium with a long lineage in an unconventional way, such as making
paintings that look like pixilated computer im;ges or drawing with unconventional
materials such as chocolate syrup.
Contemporary art is in flux. Old hierarchies and categories are fracturing; new tech-
nologies are offering different ways of conceptualizing, producing, and showing visual
art; established art forms are under scrutiny and revision; an awareness of heritages
from around the world is fostering cross-fertilizations; and everyday culture is provid-
ing both inspiration for art and competing visual stimulation. The diversity and rapid
8 transformations are intriguing but can be daunting for those who want to understand
Cf)
contemporary art and actively participate in discussions about what is happening.
u Along with the dynamic nature of contemporary art, content matters. Looking
c
ro
Q. back at the history of modern art, it is debatable whether the idea of "art for art's sake"
x
w truly took over the thinking of modernist theorists and artists. But certainly there
u
were periods in the twentieth century, especially just after World War II, when critics
(famously the American Clement Greenberg, who died in 1994) and some influential
......,
...... avant-garde artists advocated formalism, an emphasis on form rather than content
<(
Q) when creating and interpreting art. Those invested in formalism were and are con-
~
t--- cerned mainly with investigating the properties of specific media and techniques, as
well as the general language of traditional aesthetics (the role of color or composition,
for instance). But formalism is inadequate for interpreting art that expresses the inner
visions of artists or art that refers to the world beyond art. When pop art appeared in
the 1960s, with its references to cartoons, consumer products, and other elements of
shared culture, the limitations of formalism became evident, and a broader range of
theories surfaced, including postmodernism, poststructuralism, feminism, and postco-
lonialism, as we discuss later in this chapter.
Throughout the period we discuss-1980 to the present-artists have engaged
deeply with meaningful content. Artists active after 1980 are motivated by a range
of purposes and ideas beyond a desire to express personal emotions and visions or to
display a mastery of media and techniques. Political events, social issues and relations,
science, technology, mass media, popular culture, literature, the built environment, the
flow of capital, the flow of ideas, and other forces and developments are propelling art-
ists and providing content for their artworks.
~,
-j
-:::5"
CD
)>
-...
.......
~
0
l Q_
rn
x
TI
Q)
::::l
Q_
(f)
The history of contemporary art is not entirely a story of young artists bursting :::J
0..
Vl
onto the scene with new ideas. Although many previously unknown artists emerged
after 1980, the presence and influence of older artists was important as well. For exam-
ple, Joseph Beuys died in 1986, Andy Warhol in 1987, Louise Nevelson in 1988, Roy
Lichtenstein in 1997, Agnes Martin in 2004, Allan Kaprow and Nam June Paik in 2006,
Robert Rauschenberg in 2008, and Louise Bourgeois in 2010. Most of these were mak-
ing vital work up until their deaths, so that even an art movement such as pop art,
which we normally associate with the 1960s, was evolving within the ongoing produc-
tion of the oeuvres of Warhol and Lichtenstein. A retrospective exhibition of work by
Bourgeois toured internationally in 2008-09, when the influential artist was ninety-
six years old and still active.
Themes of Contemporary Art is not a chronological survey. The history of art
over the past thirty years is fantastically rich and involves many diverse stories, moti-
vations, influences, ideas, and approaches. Attempting to map recent art into a tight
chronological structure of movements or even of collections of major artists would
be premature and, in fact, would misrepresent the contemporary period. Whereas
the art world before 1980 is distant enough that we can perceive some sequence of
trends (really multiple intersecting and interacting trends), more recent art practices
are much more pluralistic and amorphous in character. Many of the artists we dis-
cuss are in mid-career and still defining their practices. As artist Haim Steinbach said
(remembering the 1980s, although his statement applies to the entire contemporary
period), "I see [the period] as an archipelago, in which different things were going on,
on different islands. They were going on concurrently but not always moving in the
same direction." 8
:;E
0
avant-garde art practices ... , rivalling painting and scu lpture in size, spectacular effects,
market appreciation, and critical importance. " 10 Large-scale color printing of photo-
graphs became feasible for the first time in the early 1980s, propelling the interest
of museums and collectors. Photography also exerted a noticeable influence on other
form s of art, particularly some genres of pain ting, which som etimes seemed to be play-
ing catch -up in striving to create a convincing illusion of the way the world "really"
(i.e., pho tographically) looks.
Photography also expanded its own boundaries as artists gave free rein to experi-
mentation, adopting new tech nologies such as the computer and hybridizing with other
forms of art, including installation and performance. More and more photographers
tu rned to elaborate fabricatio ns, constructing staged scenes that they then photographed
or manipulating and altering camera images after shooting. The widespread leap into
digital photography in the twenty-first cen tury facilitated and accelerated the manipula-
tion of photographs, with computer programs such as Photoshop replacing the hands-on
darkroom procedures needed to alter ana log negatives. An example of photograph y's
use as a tool for fabricating convincing portrayals of imaginary realms is Japanese pho-
tographer Yashio Itagaki's concoction Tourists on the Moon #2 (1998) [1-4].
16 1-4 Yoshio ltagaki I Tourists on the Moon #2, 1998
(f)
Triptych, color photograph, 40 x 90 inches
"'O CREDIT: Courtesy of the artist and Jack the Pelican Presents, New York
c
('CJ
o_
x
w
Sculpture as an art form widely expanded its sphere of influence, and the range
of content and forms within the genre expanded as well. In the 1970s, du ring the
.......
..__ reign of Minimalism, pared-down abstract sculpture predominated. Such Minimalist
<(
Q)
sculpture emphasized simplifi ed abstract volumes (what some critics referred to as
.s::. " primary structures"). In the 1980s, and extending into the present, sculptors dra-
I-
matically broadened the forms, techniques, and materials they selected. In addition
to creating sculptures from traditional materials, such as bronze, marble, and wood,
artists made sculptures from a wide array of m ateria ls as well as found objects.
For example, American sculptor Petah Coyne has incorporated a wide array of both
traditional and nontraditional materials into her distinctive suspended sculptures,
including ribbons, tree branches, shackles, hat pins, taxidermy ani mals, and chicken
wire fencing. To create Untitled #695 (Ghos t /First Communion) [1-5], Coyn e com -
bined an antique chain hoist, forged links and hooks, rope, wire, shaved hair, chicken
and tomato wire fencing, ca ble, cable nuts, acrylic polymer emulsion, acrylic paint,
black sand, and shackles. British sculptor Tony Cragg became known in the 1980s for
his wall-mounted, multipart figurative sculptures created by ar ranging found plas-
tic objects (e.g., packaging materials, throwaway plates, and plastic con tainers), often
all of the same color, into pictographic patterns. Furthermore, while sculptors con-
tinued to carve, cast, and construct discrete, uni que objects, others expanded their
practice so that sculpture overlapped with other art form s. Artists such as Robert
Gober [9-8] in th e United States and Dinos and Jake Chapman [5-3] in England pro-
duced works that incorporated multiple sculptural objects within their multimedia
installations.
The ready-made became the remix. Early in the twentieth century Dada artist
Marcel Duchamp famously exhibited unaltered found objects such as a u rinal and a
snow shovel as what he called ready-mades, or found sculptures. Numerous artists
17
o_
rn
x
u
OJ
:::i
o_
(/)
~
0
o_
rn
x
-0
ru
::::i
o_
(f)
1-7 ca i GLI o-Q ian g I Cultural Melting Bat h: Projects for the 20th Century, 1997
First rea lized August 1997 at Queens Museum of Art, New York.
18 Ta ihu rocks, hot tub with hydrothera py jets, bathwater infused with herbs, banya n tree root,
translucent fabric, and live birds. Dimensions varia ble.
Various ven ues. Collection du Musee d 'art contemporain de Lyon.
Insta l lation view at Quee ns Museum of Art, 1997
CRED IT: Photo by Hiro I hara, courtesy of Cai Studio
art fosters. The installation includes a Chinese rock garden, banyan tree roots, and a
Western-style hot tub infused with Chinese medicinal herbs, in which a multicultural
array of museum visitors are invited to bathe together. A controversial artist in China
for many years, today Cai travels frequently back to China to work, and he served as
art director of visual and special effects for the opening and closing ceremonies for the
2008 Summer Olympics in Beijing. His mid-career survey, which included his dra-
matic installation Inopportune: Stage One [1-1 ], toured internationally and was at the
National Art Museum of China during the Olympics.
Globalization
Awareness of international developments in art has made the art world more dynamic
and complex. But internationalism is not an unequivocal good, particularly when art
production comes under market pressure from international institutions and corpora-
tions that support the production and display of contemporary art. Increasingly, the
world is becoming linked by a global economy, a development that is affecting the pro-
24
duction and reception of art. Consumer capitalism, especially the approach developed
Cf)
-0
most aggressively in the United States, made huge strides during the contemporary
c period in extending its reach to global markets. The collapse of the communist sys-
ro
0..
x tem in the former Soviet Union and the economic rise of countries of the Pacific Rim,
w
especially China with its steps toward a more capitalist-style economy, have opened up
portions of the world that had been significantly insulated from capitalist business prac-
......, tices. Meanwhile, multinational corporations and supranational economic institutions
I.....
<( such as the World Bank and World Trade Organization (WTO) are engaged in activities
Cl)
..c that sometimes support and sometimes are in conflict with national interests. Systems
I- of power now make up a globalized network that is not centered in any one country.
The emergence of a linked global society (linked both technologically and eco-
nomically) has not resulted in international unity and worldwide equality; indeed, it
is highly questionable whether any institution operating on a global scale can possibly
represent the political, cultural, or aesthetic interests of the diverse individuals in all
countries. According to Stuart Hall, "you see massive disparities of access, of visibility,
huge yawning gaps between who can and can't be represented in any effective way." 18
The global economy has affected the entertainment and culture markets.
International art fairs and biennial and triennial international contemporary art sur-
vey exhibitions have proliferated and are held in numerous cities on every continent
(at least eighty-five locations by 2005), to the point at which they are nearly impossible
to keep up with. 19 Geographic mobility has become important, and artists, gallery deal-
ers, critics, and collectors who have the resources to participate in international events
increase their visibility and influence. The directors and curators who select artists and
orchestrate the international events have remarkable status and power.
In addition to globalized markets, the emergence of new telecommunications
technologies, specifically the continued spread of television throughout the world and
the rapid development of the computer and the Internet for both personal and busi-
ness use, has significantly promoted globalization. At the same time, not every person
everywhere has access to computers and the Internet, and new technologies reinforce
privilege and power for those who are well connected to the flow of information.
Besides issues of access and visibility, another issue is the potential for h om og-
enization of culture. One could argue that globalization is dehumanizing people and
leveling out differences becau se it is bringing the sam e con sumer products, images, and
information to everyone all over the world. In terms of art, critic Julia A. Fenton asks,
"Has the explosion of international art expositions around the world, and the mobility
of artists from all cultures (either through the high art m arket or the internet) served
to erase the particular in favor of the general- in style, content and theory? Do for-
mal considerations again become primary when we have obliterated cultural bounda-
ries and posited a new universality ?" 2 Critics observe, for instance, that expensive but
repetitive video and multimedia installations are ubiquitous in international surveys
because they are eye-catch ing while also portable and reproducible.
At the same time, many artists continue to produce art whose materials, techniques,
subjects, and forms appear to relate to local histories and identities. Such expressions of
cultural difference often are genuine and can serve as a form of resistance to globaliza-
tion by disrupting standardization. H owever, som e of this kind of art is a simulation
of cultural difference, promoted by international capitalism because it is marketable.
25
Fredric Jameson, an importan t Marxist theorist, has pointed out th e many contradic-
tions in globalization, such as the argument about w hether globalizing economic forces
prefer to market cultural sameness or difference. Jameson further poin ts out the irony
that nationalism, once seen as drivi ng European colonialism, is today espoused as a
model by form erly colonized people who want to resist forces of globalization.21 Gilane ~
0
Tawadros states, "The idea o f n ation continues to grip our collective imagination, Q..
equally in the art gallery as on the football pitch. Nationality remains an important rri
x
vehicle for expressing a shared identity, whether real or imagined." 22 uQl
::i
Q..
(/)
~
0
o_
rn
x
"O
O.l
::J
o_
(/)
flow of information from numerou s sources constantly bombarding us. These texts
interact and compete with one another (creating a co ndition of intertextuality, to use
the t erm favored by Derrida and Roland Barthes, another influential French theorist).
Poststructuralist thinkers believe that the onslaught of information in our m edia-
sa turated society has made it impossible for any single worldview to dominate. Instead,
boundaries and divisions between categories of all kinds are eroding. In par ticular, the
dualities, or binary pairs, so common in Western thinking and culture no longer are
convincing as polar opposites. Male and female, gay and straight, white and black,
public and private, painting and sculpture, high art and low art-distinctions between
these and other categories dissolve in a postmodern world and the elements merge
into hybrids.
Feminism and postcolonialism offer bolder, broader perspectives.The perspectives
of feminism and postcolonialism have profoundly affected contemporary visual culture.
Feminists and postcolonialists challenge artists, art historians, critics, and audiences to
consider politics and social issues. Feminists look at experience from the perspective of
gender and are particularly concerned with ensuring that women have the same rights
and opportunities as men. Feminist theoretical critiques analyze hierarchical structures
that contribute to male dominance, what fe!llinists call patriarchy; that is, the cul-
tural beliefs, rules, and structures that reinforce and sustain masculine values and male
power. A key area of feminist analysis in the visual arts is the gaze, a term used to refer
to how categories of people are stereotyped in visual representations by gender, race,
sexuality, and other factors.
Postcolonialists are interested in cultural interactions of all kinds (in politics, eco-
nomics, religion, the arts, philosophy, mass media, and so on) among peoples of differ-
ent nations, regions, and communities. Postcolonialists examine how peoples' histories
30
and identities demonstrate the economic, political, social, and psychological legacy in
(/)
-0
particular locations of colonialism, which oppressed indigenous peoples and resulted
c: in hybridity and syncretism, or a mingling of peoples and cultures. They also ana-
ro
0..
x lyze migrations and displacements of peoples (diasporas and nomadism, to use two of
w
-0
the current terms) and highlight the diversity of cultures that coexist in contempo-
rary communities. Postcolonialists' attention to the visual cultures of Africa, Asia, the
....., Americas, and the Pacific has helped foster the internationalization of the contempo-
......
<( rary art world .
<l.l
..c: Many different theories have influenced feminism and postcolonialism, and ideas
f- and positions are constantly mutating. 28 The perspectives are usually multidisciplinary,
drawing from literature, history, sociology, anthropology, and other disciplines. Since
/1
1980 critics and artists have used deconstructive strategies to analyze, or decode, "
how power functions to limit the achievements and potential of women and postcolo-
nial people around the world. Feminists and postcolonialists have applied other theo-
ries as well, including Marxism and psychoanalysis, and have contributed theories of
their own. Postcolonialists have promoted the use of theoretical models that attempt to
understand the visual arts of various cultures on their own terms rather than in com-
parison with art traditions in Europe and the United States.29
The theories just discussed, as well as others not discussed, such as Marxist and
psychoanalytic theories, permeate the production, reception, and interpretation of con-
temporary art. But the explicit embrace of theory has not been constant over the past
three decades, and its influence is often diffuse and unacknowledged rather than sys-
tematic. For example, there has been a widespread cultural backlash against feminism;
as a result, younger women artists are often reluctant to call themselves feminists, even
when their art and ideas support feminist tenets.
Artists' attention to theory seemed to wane after 1990, and the debates of the
previous decade over modernism, postmodernism, and poststructuralism died down.
According to curator Toby Kamps, in "an ideologically uncertain moment, artistic
strategies of the 1980s-appropriation, critiques of commodification, deconstruction-
seemed empty or calculating. Instead, artists took up accessibility, communication,
humor, and play. As a style, Postmodernism, positing stylistic eclecticism, social criti-
cism, and end-of-history irony, appeared bankrupt; as an attitude, however, it was the
definitive zeitgeist. The art of the 1990s, with its interest in complexity, multivalency,
and ambiguity, mirrored an uncertain, transitional period." 30
Although in general over the past fifteen years artists seem less committed to
strong political positions and not as well versed in academic theories, this does not
mean that art has lacked meaningful content. To the contrary, a preoccupation with
deep moral and ethical questions and resonant themes, such as political agency, spir-
ituality, beauty, violence, sexuality, transience, extinction, memory, and healing, is a
powerful current in the most recent art. The real world is treacherous and volatile.
According to Richard Cork, the question posed by Joseph Beuys's 1985 work The End
of the Twentieth Century still resonates: " Is [our era] about to terminate prematurely
in a nuclear apocalypse, or will it be succeeded by an era which asserts a less destruc-
tive set of values ?" 31 Or as Homi K. Bhabha wrote: "The '80s inaugurated a dream of
difference which is now being haunted by horror and doubt: abhorrence of the 'deterri-
torialized flows' of global terror networks; doubts about the feasibility of global politics
31
with the increase in 'homeland' security and international surveillance; doubts about
preemptive strikes; doubts about war; doubts about our rights and responsibilities for -i
::r
the world and ourselves. What happened to the dream ?" 32 Cl)
-
)>
We end this section with an extended example in which we unpack some of the .....
complexities of how actual artists have engaged with theory in their creative practice.
Our example addresses contemporary artists who knowingly engage with the language a.
of abstract art in a semiotic manner. rn
x
Abstraction is intimately associated with the high modernism of the twentieth u(I)
century in Western art, which is often targeted and devalued in contemporary the- ::J
a.
ory. The "heroic" generation of post-World War II American abstract painters, including (f)
Notes
1. We discuss this installation in a profile on Eduardo Kac after chapter 8, "Science." For
additional information, see Eduardo Kac's website at www.ekac.org or the published book about
the project, The Eighth Day: The Transgenic Art of Eduardo Kac (Tempe: Institute for Studies in
the Arts, Arizona State University, 2003).
2. Co-curators for the Wrong Gallery exhibition were curator Massimiliano Cioni and art-
ist Maurizio Cattelan.
3. Erika Doss, Twentieth-Century American Art (Oxford: Oxford University Press, 2002), 37
p.203.
4. Betsy Towner, "In 50 Years ... A Whole New Map," AARP Bulletin, November 2010, p. 43.
5. We discuss an ongoing series of large-scale installations in the Turbine Hall at the
Tate Modern in a profile after chapter 6, "Place." In its first decade, the Tate Modern exceeded
original projections for the number of visitors, and a new extension building is planned to open ~
0
in 2012.
6. In 2002, The Dinner Party was acquired by the Brooklyn Museum of Art, where it now
is on permanent view in the Elizabeth A. Sackler Center for Feminist Art.
7. Stephen Koch, "Andy Warhol, 1928-1987," Artforum, April 2003, p. 94.
8. Haim Steinbach, "Haim Steinbach Talks to Tim Griffin," interview by Tim Griffin,
Artforum, April 2003, p. 230.
9. Neal Benezra and Olga M. Viso, Distemper: Dissonant Themes in the Art of the 1990s
(Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1996),
p. 10. An exhibition catalog.
10. Doss, Twentieth-Century American Art, p. 217.
11. Artists working with appropriation in the 1980s and after include Sigmar Polke in
Germany, Jeff Koons, Mike Bidlo, and Louise Lawler in the United States, Carlo Maria Mariani in
Italy, and Wang Guangyi in China.
12. There were precursors of sound art dating back to the early twentieth century, including
some of the Italian Futurists. More recent pioneers include Pauline Oliveros, Vito Acconci, Terry
Fox, and Keith Sonnier. These and other artists were represented in the 1983 exhibition Sound/
Art ~t the Sculpture Center in New York City, which featured the first documented use of the term
sound art in the United States.
13. Some active practitioners within the expanding field of new media include Rebecca Horn,
Jon Kessler, Alan Rath, Laurie Anderson, Margot Lovejoy, Pipilotti Rist, Mariko Mori, Jeffrey
Shaw, Ben Rubin, and Michal Rovner.
14. Nicholas Mirzoeff, An Introduction to Visual Culture (London and New York: Routledge,
1999), p. 91.
15. Quoted in Liz Wells, Photography: A Critical Introduction (London and New York:
Routledge, 1997), p. 257.
16. In the age of mechanical reproduction, such processes as photolithography allowed news-
papers and magazines to duplicate and disseminate images. The electronic age, however, is differ-
ent in degree as well as in kind from preceding eras, as imagery is now sent around the world at
the speed of light.
17. For descriptions ofByrne's work, see David Byrne, Env isioning Emotional Epistemological
Information (New York: Steidl and Pace-McGill Gallery, 2003).
18. Quoted in Stuart Hall and Michael Hardt, "Changing States: In the Shadow of Empire,"
in Gilane Tawadros, ed., Changing S tates: Contemporary Art and Ideas in an Era of Globa lisation
(London, Institute of International Visual Arts, 2004), p. 133. Much of the preceding discussion is
indebted to Hall's arguments.
19. See the map "Biennial and Triennial International Contemporary Art Surveys Worldwide,"
in Universal Experience: Art, Life, and the Tourist's Eye (Chicago: Museum of Contemporary Art;
New York: Distributed Art, 2005), pp. 204-205.
20. Julia A. Fenton, "World Churning: Globalism and the Return of the Local," Art Papers
25 (May/June 2001): p. 11.
21. See Fredric Jameson, "Globalization as a Philosophical Issue," in Fredric Jameson and
Masao Miyohsi, eds., The Cultures of Globalization (Post-Contemporary Interventions)
(Durham: Duke University Press, 1998), pp. 75-76.
22. Tawadros, Changing States, p. 71.
23. Bennett Simpson, "Pushing an Open Door: The Artist as Culture Broker," in Mark
Sladen, ed., The Americans: New Art (London: Booth-Clibborn Editions, 2001), p. 296. An exhibi-
tion catalog.
38 24. Hilary Robinson, "Introduction: Feminism-Art-Theory-Towards a (Political) Histori-
ography," in Robinson, ed., Feminism-Art-Theory: An Anthology 1968-2000 (Malden, Mass.:
(f)
-0
Blackwell, 2001), p. 1.
c 25. John Raj chman, "Unhappy Returns," Art/arum, April 2003, p. 61. "Beaubourg" is a nick-
cu
0.. name for the Centre Georges Pompidou, a cultural center that opened in Paris in 1977.
x
w 26. Influential theorists of poststructuralism include the French intellectuals Michel Foucault,
Jacques Derrida, Roland Barthes, and Jacques Lacan.
27. See chapter 7, "Language," for further discussion of poststructuralism.
..._, 28. The many feminist thinkers who have influenced the visual arts include Julia Kristeva,
..__
<( Luce Irigaray, Helene Cixous, Gayatri Chakravorty Spivak, Craig Owens, Laura Mulvey, Lucy
Q) Lippard, and Griselda Pollock. Thinkers associated with postcolonialism include Homi K. Bhabha,
.c
I- Edward Said, Rasheed Araeen, Paul Gilroy, and Olu Oguibe. Intellectuals involved with both femi-
nism and postcolonialism include bell hooks, Trinh T. Minh-Ha, and Ella Habiba Shohat.
29. See chapter 2, "Identity," and chapter 3, "The Body," for further discussion of feminism
and postcolonialism.
30. Toby Kamps, "Lateral Thinking: Art of the 1990s," in Kamps, ed., Lateral Thinking: Art
of the 1990s (La Jolla, Calif.: Museum of Contemporary Art San Diego, 2002), p. 15. An exhibition
catalog.
31. Richard Cork, "The End of the Twentieth Century," in Breaking Down th e Barriers: Art
in th e 1990s (New Haven, Conn.: Yale University Press, 2003), p. 628.
32. Homi K. Bhabha, "Making Difference," Art/arum, April 2003, p. 76.
33. Laurie Fendrich, Why Painting Still Matters (Bloomington, Ind.: Phi Delta Kappa
Educational Foundation, 2000), p. 16.
34. Claire Bishop, "The Social Turn: Collaboration and Its Discontents" in Margriet
Schavemaker and Mischa Rakier, eds., Right About Now: Art and Theory "6ince the 1990s
(Amsterdam: Valiz, 2007), pp. 59- 60.
35. Bourriaud's influential writings on this topic are collected in Nicolas Bourriaud, Esthetique
relationelle (Dijon, France: Les Presses du reel, 1998). Translated by Simon Pleasance and Fronza
Woods with the participation of Mathieu Copeland as Relational Aesthetics (2002).
36. Nadja Rottner, "Relational Aesthetics," in Grove Art Online (Oxford University Press,
2011) at http://www.oxfordartonline.com. Artists championed by Bourriaud include Rikrit
Tiravanija, Vanessa Beecroft, Philippe Parreno, Pierre Huyghe, Angela Bulloch, and Carsten Holler,
among others.
37. For example, see Grant Kester's formulation of what he terms dialogical aesthetics in
Grant H. Kester, Conversation Pieces: Community and Communication in M odern Art (Berkeley:
University of California Press, 2004).
38. Jorg Heiser, All of a Sudden: Things That Matter in Contemporary Art (Berlin: Sternberg
Press, 2008), p. 260.
39. Other examples of relational art include projects by Carsten Holler and Andrea Zittel;
Zittel's work is analyzed in the Profile following chapter 6, "Place."
40. Jeff Wall, "Jeff Wall Talks to Bob Nickas," interview by Bob Nickas, Artforum, March
2003, p. 87.
41. Benjamin Weil, "Ambient Art and Our Changing Relationship to the Art Idea," in
010101: Art in Technological Times (Sa n Francisco: San Francisco Museum of Modern Art, 2001),
pp. 58-59. An exhibition catalog.
42. Gilles Deleuze and Felix Guattari, A Thousand Plateau_s: Capitalism and Schizophrenia,
trans. by Brian Massumi (Minneapolis: University of Minnesota Press, 1987).
43. The title of Tyson's artwork, Large Field Array, makes reference to the Very Large Array
(VLA), an astronomy observatory located in a barren stretch of the New Mexico landscape. VLA's
power as a scientific research instrument-an outlook c:m the cosmos-stems from the holistic
gathering of information from the twenty-seven large independent radio antennae (each arm is
thirteen miles in length) that are arranged in an enormous Y-shape configuration.
44. Keith Tyson quoted in an online interview, "Keith Tyson-Large Field Array, Part 2," a
tabblo by Gerardfotografeert, accessed June 27, 2008, http://www.tabblo.com/studio/stories/view
/255949/ ?nextnav=favs&navuser=233142. 39
~
0
0...
rr1
x
l:J
ill
:::J
0...
(/)