Language : English
Published : 2017-08-15
Pages : 286
Contemporary Indonesian Art: Artists, Art Spaces, and Collectors
Indonesian art entered the global contemporary art world of independent curators, art fairs, and biennales in the 1990s. By the mid-2000s, Indonesian works were well-established on the Asian secondary art market, achieving record-breaking prices at auction houses in Singapore and Hong Kong. This comprehensive overview introduces Indonesian contemporary art in a fresh and stimulating manner, demonstrating how contemporary art breaks from colonial and post-colonial power structures, and grapples with issues of identity and nation-building in Indonesia. Across different media, in performance and installation, it amalgamates ethnic, cultural, and religious references in its visuals, and confidently brings together the traditional (batik, woodcut, dance, Javanese shadow puppet theater) with the contemporary (comics and manga, graffiti, advertising, pop culture).Spielmann’s Contemporary Indonesian Art surveys the key artists, curators, institutions, and collectors in the local art scene and looks at the significance of Indonesian art in the Asian context. Through this book, originally published in German, Spielmann stakes a claim for the global relevance of Indonesian art.
About the Author
Yvonne Spielmann is a visiting research fellow at NTU Center for Contemporary Art, Singapore. She was Dean of Faculty of Fine Arts at Lasalle College of the Arts in Singapore. Previously she was Research Professor of New Media at the University of the West of Scotland, and Professor of Visual Media at Braunschweig University of Art. She holds the 2009 Lewis Mumford Award for Outstanding Scholarship in the Ecology of Technics and the 2011 Swedish Prize for Swedish-German Scientific Cooperation.
Out of stock
This milestone volume maps fifty years of artists’ engagement with sound. Since the beginning of the new millennium, numerous historical and critical works have established Sound Art as an artistic genre in its own right, with an accepted genealogy that begins with Futurism, Dada, and Fluxus, as well as disciplinary classifications that effectively restrict artistic practice to particular tools and venues. This book, companion volume to a massive 2012-2013 exhibition at ZKM | Center for Art and Media, Karlsruhe, goes beyond these established disciplinary divides to chart the evolution and the full potential of sound as a medium of art. The book begins with an extensive overview by volume editor and ZKM CEO Peter Weibel that considers the history of sound as media art, examining work by visual artists, composers, musicians, and architects alike. Subsequent essays examine sound experiments in antiquity, sonification of art and science, and Internet-based sound art. Experts then survey the global field of sound art research and practice, in essays that describe the past, present, and future of sound art in Germany, Japan, China, the United States, the United Kingdom, Russia, Canada, and Scandinavia. The texts are accompanied by hundreds of color images drawn from the ZKM exhibition. Essays byAlvaro Barbosa, Dmitry Bulatov, Germano Celant, Seth Cluett, Christoph Cox, Jim Drobnick, Brandon LaBelle, Tony Myatt, Achille Bonito Oliva, Linnea Semmerling, Morten Sondergaard, Alexandra Supper, Atau Tanaka, David Toop, Peter Weibel, Dajuin Yao, Siegfried Zielinsky
About the Author
Peter Weibel is Chairman and CEO of the ZKM | Center for Art and Media, Karlsruhe, and Professor at the University of Applied Arts Vienna. He has edited other ZKM volumes published by the MIT Press, including, most recently, The Global Contemporary and the Rise of New Art Worlds.
Modernity has had so many meanings and tries to combine so many contradictory sets of attitudes and values that it has become impossible to use it to define the future. It has ended up crashing like an overloaded computer. Hence the idea is that modernity might need a sort of reset. Not a clean break, not a “tabula rasa,” not another iconoclastic gesture, but rather a restart of the complicated programs that have been accumulated, over the course of history, in what is often called the “modernist project.” This operation has become all the more urgent now that the ecological mutation is forcing us to reorient ourselves toward an experience of the material world for which we don’t seem to have good recording devices. Reset Modernity! is organized around six procedures that might induce the readers to reset some of those instruments. Once this reset has been completed, readers might be better prepared for a series of new encounters with other cultures. After having been thrown into the modernist maelstrom, those cultures have difficulties that are just as grave as ours in orienting themselves within the notion of modernity. It is not impossible that the course of those encounters might be altered after modernizers have reset their own way of recording their experience of the world. At the intersection of art, philosophy, and anthropology, Reset Modernity! has assembled close to sixty authors, most of whom have participated, in one way or another, in the Inquiry into Modes of Existence initiated by Bruno Latour. Together they try to see whether such a reset and such encounters have any practicality. Much like the two exhibitions Iconoclash and Making Things Public, this book documents and completes what could be called a “thought exhibition:” Reset Modernity! held at ZKM | Center for Art and Media Karlsruhe from April to August 2016. Like the two others, this book, generously illustrated, includes contributions, excerpts, and works from many authors and artists. ContributorsJamie Allen, Terence Blake, Johannes Bruder, Dipesh Chakrabarty, Philip Conway, Michael Cuntz, Eduardo Viveiros de Castro, Didier Debaise, Gerard de Vries, Philippe Descola, Vinciane Despret, Jean-Michel Frodon, Martin Giraudeau, Sylvain Gouraud, Lesley Green, Martin Guinard-Terrin, Clive Hamilton, Graham Harman, Antoine Hennion, Andres Jaque, Pablo Jensen, Bruno Karsenti, Sara Keel, Oleg Kharkhordin, Joseph Leo Koerner, Eduardo Kohn, Bruno Latour, Christophe Leclercq, Vincent-Antonin Lepinay, James Lovelock, Patrice Maniglier, Claudia Mareis, Claude Marzotto, Kyle McGee, Lorenza Mondada, Pierre Montebello, Stephen Muecke, Cyril Neyrat, Cormac O’Keeffe, Hans Ulrich Obrist, P3G, John Palmesino, Nicolas Prignot, Donato Ricci, Ann-Sofi Ronnskog, Maia Sambonet, Henning Schmidgen, Isabelle Stengers, Hanna Svensson, Thomas Thwaites, Nynke van Schepen, Consuelo Vasquez, Peter Weibel, Richard White, Aline Wiame, Jan Zalasiewicz Exhibition April 10, 2016–August 21, 2016ZKM | Center for Art and Media Karlsruhe Copublished with ZKM | Center for Art and Media, Karlsruhe
About the Author
Bruno Latour, a philosopher and anthropologist, is the author of Reassembling the Social: An Introduction to Actor-Network Theory, Our Modern Cult of the Factish Gods, An Inquiry into Modes of Existence, and many other books. He curated the ZKM exhibits ICONOCLASH and Making Things Public and coedited the accompanying catalogs, both published by the MIT Press.
Organized around common rhetorical situations that occur all around us, INVENTING ARGUMENTS shows you that argument is a living process rather than a form to be modeled. Through the text’s prominent focus on invention, you will learn to recognize the rhetorical elements of any argumentative situation and apply the tools of argument effectively in your own writing. The basic layers of argument are introduced in early chapters, with material arranged into increasingly sophisticated topics beginning with the most obvious or explicit layers (claims) and moving to more implied or “hidden” layers (assumptions, values, beliefs, ideology). By the time you finish Part I, you will have a thorough understanding of argument, which you can then apply not just to the invention projects in Chapters 7-12, but also to your writing for other college courses and beyond.
About the Author
John Mauk has a Ph.D. in rhetoric and writing from Bowling Green State University and a Masters in language and literature from the University of Toledo. Scholarship includes an article on critical geography and composition (COLLEGE ENGLISH, March 2003). Mauk now teaches composition and rhetoric courses at Northwestern Michigan College. In 2007, he served on the NCTE Nominating Committee. John Metz has a B.A. in English from Slippery Rock University of Pennsylvania (1983) and an M.A. in English from the University of Toledo (1985). He has taught first-year writing for over 20 years and currently teaches at Kent State University at Geauga in Twinsburg, Ohio.
Thomas Pavittes amazing 1,000 Dot-to-Dot books brought a fresh spirit to a classic pastime, and have sold hundreds of thousands of copies worldwide. Now he unveils an even more original and amazing concept: Querkles: The Puzzling Colouring Book. At first glance the Querkles are nothing but a seemingly random arrangement of indecipherable overlapping circles but cunningly hidden within each one is a famous face waiting to be revealed. You can keep it simple, and use one pen or pencil, or you can go colourful, with felt tips or paints: the principle is no more complicated than the colour-by-numbers books that kids love. The results, however, are unexpected, graphic and sensational and theres the thrill of discovery every time! 20 great portraits of well known faces, from the Mona Lisa to Che Guevara, will come to life and each can easily be removed from the oversized book, framed and displayed.