Themes Of Contemporary Art pdf epub mobi txt 电子书 下载 2026
- 艺术
- 当代艺术
- ContemporaryArt
- Art
- 当代
- 课本
- 现代/当代
- 小说
- 当代艺术
- 艺术主题
- 艺术史
- 现代艺术
- 文化研究
- 艺术理论
- 视觉文化
- 艺术批评
- 艺术哲学
- 当代思潮
具体描述
作者简介
Review
"An excellent book that approaches contemporary art in ways that are relevant to how art is made today, ways that move beyond the old categories of medium and genre to examine a group of issues that motivate and structure much of the content of today's art."--Timothy Van Laar, University of Illinois at Urbana-Champaign and coauthor of Art with a Difference: Looking at Difficult and Unfamiliar Art and Active Sights: Art as Social Interaction
Book Description
Themes of Contemporary Art: Visual Art after 1980 is a unique introduction to several important themes that have recurred in art over the past few decades. Examining visual art from 1980 to the present, it takes an intriguing and accessible approach that motivates students and other readers to think actively about and discuss contemporary art--what it means and how it means what it does. The opening chapter provides a concise overview of the period, analyzing how four key changes (the rise of new media, a growing awareness of diversity, the influence of theory, and interactions with everyday visual culture) have resulted in an art world with dramatically expanded boundaries. Reflecting the paradigm shift from a formalist way of teaching studio art to more varied and open-ended concepts, the remaining six chapters each deal with a key theme--time, place, the body, language, identity, and spirituality. Each chapter features an introduction to the thematic topic; a brief look at historical precedents and influences; a detailed analysis of how contemporary artists have responded to and embodied aspects of the theme in specific works; and an in-depth and fascinating profile of an artist who has extensively explored aspects of the theme in his or her work. Themes of Contemporary Art: Visual Art after 1980 shows how art can be interpreted from several different angles: techniques and materials, historical circumstances, aesthetic qualities, theoretical issues, and an artist's ideas and intentions. Writing in a lucid and engaging style, the authors skillfully reveal the multiple levels of meaning in artworks, drawing connections between contemporary art, art of the past, and everyday existence. The volume is enhanced by 87 illustrations--19 in full color--that demonstrate an immense variety of materials, subjects, and styles. These well-chosen examples will help readers learn to critically describe, interpret, and evaluate contemporary visual art. A bibliography and a timeline that situates contemporary art in the context of major events in world history, art, and popular culture are also included. An ideal core text for courses in contemporary art history, Themes of Contemporary Art: Visual Art after 1980 can also be used as a supplement in modern art, art appreciation, art criticism/theory, and studio art courses.
About the Author
Jean Robertson and Craig McDaniel are both at Indiana University-Purdue University Indianapolis.
目录信息
INTRODUCTION
Themes of Contemporary Art: What, Why, and How
Format of the Book
CHAPTER ONE: THE ART WORLD EXPANDS
Overview of History and Art History: 1980-2008
Old Media Thrive, New Media Make Waves
The Art World Goes Global
Theory Waxes and Wanes
Art Meets Contemporary Culture
Post Studio Art Practice
CHAPTER TWO: TIME
Time and Art History
Representing time
Embodying time
Changing Views of Time
Changing Views of the Past
Exhibits about Time
Exploring the Structure of Time
Fracturing time
Real time
Changing rhythm
Exploring endlessness
Revisiting the Past
Recovering history
Reshuffling the past
Reframing the present
Commemorating the Past
Profile #1: Brian Tolle
Profile #2: Cornelia Parker
CHAPTER THREE: PLACE
Places Have Meanings
Places Have Value
Exhibits about Place
History's Influence
(Most) places exist in space
The work of art exists in a place
Looking at Places
Looking Out For Places
Constructing (and Deconstructing) Artificial Places
Placeless Spaces
What's Public? What's Private?
In-Between Places
Profile #1: Janet Cardiff
Profile #2: Unilever Series at Tate Modern
CHAPTER FOUR: IDENTITY
Identity in Art History
Identity is Communal or Relational
Social and cultural identities
Identity politics
Identity is Constructed
Essentialism
Difference
Identity is Not Fixed
Sexual Identity is Diverse
Hybridity
Reinventing Identities
Profile #1: Jaune Quick-to-See Smith
Profile #2: Shirin Neshat
CHAPTER FIVE: THE BODY
Past Figurative Art
A New Spin on the Body
The body is a battleground
The body is a sign
People are bodies
The Body Beautiful
Different bodies
Body parts
Mortal Bodies
Sexual Bodies
The gaze
Sexual pleasure and desire
Sex and violence
Post-Human Bodies
Profile #1: Renee Cox
Profile #2: Zhang Huan
CHAPTER SIX: LANGUAGE
Words with Art: A History
Art with Words: A History
Recent Theories of Language
Reasons for Using Language
Exhibitions and Publications Concerning Language in Art
Language Makes Meaning
Language Takes Form
Transparency and translucency
Spatiality and physicality
Books made by artists
Art made with books
Wielding the Power of Language
Confronting the Challenge of Translation
Using Text in the Information Age
Profile #1: Ken Aptekar
Profile #2: Nina Katchadourian
CHAPTER SEVEN: SCIENCE
What is Science?
The Scientific Impulse
The Scientific Method
Artists as Amateur Scientists
Artists Adopt Scientific Methods and Materials
Creole Technologies
BioArt
Science and Art: Intertwined Through History
The Ideology of Science
Is Science Running Amok? Activist Art Responds
Recent Exhibits about science and art
The Visual Culture of Science
Scientific imaging and art
Deconstructing the visual culture of science
Scientific displays and archives
Science in popular culture
Classifying Humans in the Genomic Age
Is Nature Natural?
Marveling at the Universe
Profile #1: Patricia Piccinini
Profile #2: Eduardo Kac
CHAPTER EIGHT: SPIRITUALITY
A Short History
A Few Strategies
Manipulating forms, materials, and processes
Manipulating meanings and minds
Finding Faith and Harboring Doubt
Expressing Religious Identities
Facing Death, Doom, and Destruction
Mingling the Sacred and the Secular
Profile #1: Jose Bedia
Profile #2: Bill Viola
Bibliography
Timeline (1980-2008)
Index
· · · · · · (收起)
读后感
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用户评价
这本书简直是艺术史的“黑洞”！我满心期待能一窥当代艺术的脉络，结果翻开第一页，看到的却是对文艺复兴时期透视法理论的冗长阐述，接着是关于中世纪雕塑材料的化学分析。我不得不说，作者对于“当代”的定义可能停留在上个世纪的某个角落。整本书的论述节奏缓慢得像蜗牛爬过沥青路面，每一个概念的引入都伴随着对古老经典的漫长回顾，似乎在试图证明一切艺术的源头都可以追溯到某种古希腊的几何图形。读完关于达芬奇光影技巧的那一章，我差点忘了我买这本书是为了了解波普艺术的。如果有人想深入了解文艺复兴时期颜料的配方，这本书绝对是无价之宝；但若你是想知道马克·罗斯科的色块是如何影响后来的极简主义，你可能需要去别的图书馆碰碰运气，或者直接去博物馆对着画布发呆，那效果可能都比读这本书来得直接。这更像是一本被错误命名、塞错了封面的学术专著，一本关于“古代艺术的复兴与延续”的鸿篇巨制，而非我们所期望的对当下艺术图景的聚焦。
评分当我合上这本书时，我唯一的感受是：我被“去语境化”了。作者似乎坚信，艺术作品的价值可以脱离其产生的社会、政治和技术环境而被独立审视和分析。书中对所有艺术作品的解读都停留在形式分析和符号学的层面，对于艺术与权力结构、消费主义文化、社会运动之间的复杂纠葛，几乎是避而不谈的。比如，当讨论到某位艺术家的装置作品时，重点全放在了材料的纹理和空间的布局上，而完全忽略了该作品在特定政治气候下可能引发的争议或其对特定社群的意义。当代艺术之所以引人入胜，恰恰在于其对当下世界的猛烈回应和批判性介入。这本书却像一个戴着厚厚滤镜的望远镜，将所有刺激、尖锐的现实元素都过滤掉了，只留下一些光滑、无害的表面观察。它提供的是一种“纯粹的”艺术欣赏，但这种纯粹在二十一世纪的语境下，显得异常苍白和不合时宜。
评分这本书的叙事结构混乱得让人抓狂。它似乎没有一个清晰的主线或时间轴，章节间的跳转如同神经质的跳跃。上一章还在讲某位抽象表现主义大师在五十年代的创作心境，下一章突然插入了一段关于巴洛克时期建筑装饰的详细分析，然后又莫名其妙地跳到了对战后欧洲电影理论的评论。我努力地试图从中梳理出一条关于当代艺术如何演变的逻辑链条，但最终只收获了满脑子的碎片信息。它缺乏一种引导读者的“策展人”视角，更像是一堆从不同期刊上随机抽取的、未经整合的论文合集。如果你是那种需要清晰的时间线、明确的观点支撑才能构建知识体系的读者，这本书会让你感到挫败。它提供了无数的“点”，但完全没有连接成“线”或“面”。我甚至怀疑，作者是否真的相信这些散乱的论述能够共同指向“当代艺术的主题”这一宏大命题。
评分这本书给我的感觉就像是，你点了一份顶级的法式鹅肝套餐，结果端上来的是一盘非常精美的、摆盘一丝不苟的——水煮西兰花。它文笔优美得令人发指，每一个句子都像精心打磨过的宝石，词藻华丽，结构复杂，充满了晦涩的术语和深奥的哲学思辨。然而，当你试图将这些华丽的辞藻拼凑起来，试图找到一个关于当代艺术核心问题的切入点时，你会发现它们像沙子一样从指缝间溜走，毫无着力点。它花了大量的篇幅探讨“观看行为”的先验性，引用了大量德语和法语的理论片段，这些内容本身或许很深刻，但与我关心的那些爆炸性的、挑战既有观念的当代艺术实践，比如行为艺术的伦理困境，或者数字媒体艺术的去物质化趋势，几乎毫无关联。这更像是一本献给哲学系高年级学生的论著，而非一本面向艺术爱好者或初级从业者的入门指南。我读到一半时，感觉自己的词汇量暴涨，但对卡迪·阿特伍德或草间弥生在过去二十年中的创作意图，依然一无所知。这是一场语言的盛宴，却是一次内容的饥荒。
评分我得说，这本书的排版和装帧设计简直是艺术品，纸张厚实，油墨浓郁，印刷质量一流。但内容上，它似乎对“当代”一词有着极其保守的界定。我期待的是对观念艺术、后现代主义的解构、全球化背景下的身份政治在艺术中的体现等热点话题有所涉猎，结果发现它对二十世纪七十年代末的某些小众流派进行了近乎病态的细致梳理，仿佛这些流派是当代艺术的全部精髓。对于近年来崛起的重要国际双年展现象，它只是一笔带过，语气中流露出一种居高临下的不屑。每一次提到“新技术”或“虚拟现实”，都像是带着一种勉强的、礼节性的点头，随后立刻转向对某个已经尘封的立体派展览的深度剖析。这本书散发着一种强烈的“学院派傲慢”：仿佛只有那些经过时间检验的、已经被纳入教科书的“前代”艺术，才值得被严肃对待。对于读者来说，读完它，你只会对上世纪中叶以前的艺术史了解得更透彻，而对我们脚下的这个时代，依然保持着巨大的盲区。
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