Contemporary art trends and developments in HE
Live video streaming as a technique became political with the Arab Spring and the Occupy movement. To see images in real time and without the mediation by journalists affected many people not because they shared the same space with the various protesters but the same time. In the last years, artists have started to adopt streaming as a technical and aesthetical format and in my paper I discuss in what regard this might be symptomatic and relevant for contemporary art. Streaming, as I argue, in this context is not so much an enabling technology but a concept of contemporaneity of image and beholder.
A review of the collaborative MIT Press-Whitechapel Gallery reader on animals in contemporary thought and art. This was originally a review for Museum Books; the url is: https://www.museumbookstore.com/blogs/blog/book-review-animals-documents-of-contemporary-art
Since the introduction of the World Wide Web in 1991, it has had a significant impact on contemporary art. As a consequence, however, networks are almost exclusively considered as technologically determined, art produced is digital, refers to the internet and is more often than not specifically web-based. This research redefines the role of networks in contemporary art. It proposes that networks are not a specific technology that provides a means for art practice to occur but are a concept that transforms practice and enables a networked art. Networked art is a continuation of twentieth century developments in art including cybernetic art, systems aesthetics, new media art and relational aesthetics. The research discusses these and considers how practice became systemised through strategies such as the dematerialization of art as object (Lippard, 1997) and the renouncement of objecthood (Fried, 1998). Equally important is the emergence of cybernetics and systems theory that explained concepts such as process and behaviour frequently employed in art practice. By defining a network as a type of system, networked art is foremost concerned with connections or links and considers the resulting behaviours that occur. Networked art is therefore not centred on networks as form. It can adapt as technologies evolve over time and as such is considered post specific technologies and the disciplines connected with them.
This paper studies the uses and abuses of the term “Precarity” in contemporary art.
Poetry, poetics, experimental and avant-garde writing, collaboration, modern and contemporary art.
Forum for discussion on post-secondary arts education including the development of contemporary arts education.
Professor of History of Contemporary Art Department of Cultural Heritage and Environment, Università degli Studi di Milano, Italy
Professor, Modern & Contemporary Art History Elon University they/them/their pronouns
This book review appeared in Woman’s Art Journal, Spring/Summer 2016, Volume 37, Number 1, pages 50-52.