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Notes on Contributors. Acknowledgements. Text, Figure, and Plate Credits. How To Use This Book. Introduction. Part I: Contemporary Art Practices and Models:. 1. The Intellectual Field: a world apart: Pierre Bourdieu (deceased 2001, College de France). 2. When Form Has Become Attitude - And Beyond: Thierry de Duve (University of Lille 3, France and the Hogeschool Sint Lucas Beeldende Kunst, Gent). 3. One Place After Another: Notes on Site Specificity: Miwon Kwon (UCLA). 4. The Curator's Moment: Michael Brenson (independent scholar). 5. How to Provide an Artistic Service: An Introduction: Andrea Fraser (artist). 6. Conversation Pieces: The Role of Dialogue in Socially Engaged Art: Grant Kester (University of California, San Diego). 7. 'yBa' as Critique: The Socio-Political Inferences of the Mediated: James Gaywood (independent scholar). 8. Video Projection: The Space Between Screens: Liz Kotz (University of Minnesota). Part II: Culture/Identities/Political Fields:. 9. The War on Culture: Carole S. Vance (Columbia University). 10. Feminist Fundamentalism: Women against Images: Carole S. Vance (Columbia University). 11. AIDS: Cultural Analysis/Cultural Activism: Douglas Crimp (University of Rochester). 12. Architecture of the Evicted: Rosalyn Deutsche (Barnard College, Columbia University). 13. Gender is Burning: Questions of Appropriation and Subversion: Judith Butler (University of California, Berkeley). 14. Cornered: A Video Installation Project: Adrian Piper (Professor of Philosophy, Wellesley College). 15. The Mythology of Difference: Vulgar Identity Politics at the Whitney: Charles A. Wright, Jr. (independent scholar). 16. Haunted TV: Avital Ronell (New York University). Part III: Post-colonial Critiques:. 17. The Marco Polo Syndrome: Some Problems around Art and Eurocentrism: Gerardo Mosquera (New Museum of Contemporary Art, New York). 18. In the 'Heart of Darkness': Olu Oguibe (University of Connecticut). 19. The Syncretic Turn: Cross-Cultural Practices in the Age of Multiculturalism: Jean Fisher (Middlesex University). 20. Authenticity, Reflexivity & Spectacle: or, the rise of New Asia is not the End of the World: Lee Weng Choy (The Substation, an independent contemporary art center in Singapore). 21. All-Owning Spectatorship: Trinh T. Minh-Ha (University of California, Berkeley). Part IV: Rethinking Aesthetics:. 22. A Note on Gerhard Richter's October 18, 1977: Benjamin Buchloh (Barnard College, Columbia University). 23. Notes on Surface: toward a genealogy of flatness: David Joselit (Yale University). 24. Ruins, Fragmentation, and the Chinese Modern/Postmodern: Wu Hung (The University of Chicago). 25. Function and Field: Nana Last (Rice University). 26. 1989: Juli Carson (UCLA). Part V: Theories after Postmodernism:. 27. Postmodernism and Periphery: Nelly Richard (Universidad Arcis, Santiago de Chile). 28. Looking for Trouble: Kobena Mercer (Goldsmith's). 29. Repossessing Popular Culture: Laura Kipnis (Northwestern University). 30. The Lightness of Theory: John Rajchman (Columbia University). 31. Informe Without Conclusion: Rosalind Krauss (Columbia University). 32. The Database: Lev Manovich (University of California, San Diego). Index

xxiii, 444 pages : illustrations (some color) ; 26 cm

"Theory in Contemporary Art since 1985 is an anthology that captures the essence and the edge of the contemporary art scene. Focusing on key theoretical and aesthetic issues in contemporary art in cultural, historical, and socio-political contexts - including media, architecture, postmodernism, multiculturalism, identity politics, censorship, AIDS, postcolonialism, globalization, technology, and spectatorship - this volume brings together a broad selection of contributions that map out the role that critical theory has played in contemporary art." "This anthology mixes established and emergent art voices, including scholars, curators, critics, and artists. Interdisciplinary in approach and drawing on a wide variety of sources, Theory in Contemporary Art since 1985 brings together scholarly essays, artists' statements, and art reproductions to capture the vibrancy and dissonance that defines today's art scene."--Jacket

Theory in contemporary art since 1985