Art Since 1989 (World of Art)

Art Since 1989 (World of Art)

Kelly Grovier

Language: English

Pages: 224

ISBN: 0500204268

Format: PDF / Kindle (mobi) / ePub

An extensive, accessible guide to the most groundbreaking and influential art from 1989 to the present

The years since the collapse of the Berlin Wall in November 1989 have seen the rise of a new freedom to define art?Who makes it? Where can it be found? What is its commercial value??and, consequently, the reevaluation of art’s place in society.

Kelly Grovier surveys the dynamic developments in art practice worldwide since 1989, focusing on artists whose fresh visual vocabulary and innovation reflect these past turbulent decades. The book’s ten chapters examine the key themes in contemporary art?portraiture in the age of face transplants and facial recognition software, political activism, science, and religion, to name a few?by artists including Jeff Koons, Louise Bourgeois, Damien Hirst, George Condo, Marlene Dumas, Sean Scully, Cindy Sherman, Banksy, Ai Weiwei, Antony Gormley, Christo and Jean-Claude, Jenny Holzer, Chuck Close, and Cornelia Parker. A chapter-length timeline at the end of the book traces the evolution of art from 1989 to today by closely examining one key artwork from each year.

Illustrated with the work of over 200 key artists, Art Since 1989 is a lucid and engaging look at what may prove to be one of the more tempestuous eras in human history, if not the history of art. 254 illustrations

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disbalancing to bear. Falling Star revisits themes the artist explored in an earlier installation, Home Within Home (2009–11), for which Suh constructed replicas of every dwelling in which he had ever resided, variously interpreting those domestic spaces as ghostly blueprints, dolls’ houses and small-scale edifices crashing like meteors into the side of larger models. 35 Do Ho Suh, Fallen Star, 2012. Mixed media If home, for Suh, implies a collapsing inward, for fellow South Korean artist

language and aesthetic laws: one that requires the total immersion of a viewer’s senses and being. A comparable instinct to assimilate observers’ senses into the very fabric of a work motivates an ophthalmologically intense installation constructed in 2013 by a team of scientific collaborators led by British artist Gina Czarnecki. Employing cutting-edge medical technology, Czarnecki’s I projects detailed scans of participants’ irises at enormous size onto the sides of buildings and screens [98].

with the use of traditional tools, is to find oneself lost in a jigsaw of surreal shapes and fragments of Romanian visual lore: a riddle of repeated patterns that recall Joan Miró’s early fascination with harlequins. But in the hands of the Tobias brothers, an abandoned biomorphism that had invigorated European art almost a century earlier has been resuscitated and laced with allusions to indigenous decoration and customary dress. Like Anatsui, the brothers Tobias look forward by reaching back to

weaver who died when the young artist was studying at university. When London’s Tate Modern opened its Turbine Hall in 2000 as a pre-eminent venue for the showcasing of large-scale contemporary artworks, Bourgeois was invited to design the inaugural installation. A key component of her display was the erection of an enormous steel spider entitled Maman (or ‘mother’) that stood over 10 metres (33 feet) high on eight spindly legs around which visitors were invited to wander. At once intimately

conscience feeds into the materiality of art. The Bridge asks what is lost when an artwork moves from inception to presentation in a gallery space and whether that rickety conveyance from notion to exhibition strips the object of its rawness. 2001 Tracey Rose, The Kiss. Lambda print Is it possible to perceive a work of art separate from its position in the history of art, or from the prejudices and politics of the society from which it emerged? Such are some of the dilemmas that invigorate

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