List of Figures ix
Notes on Contributors xiv
Series Editor’s Preface xviii
Acknowledgments xix
Part I: Introduction 1
1 Writing Contemporary Art into History, a Paradox? 3
Amelia Jones
Part II: Decades 17
1945–60
2 “America” and its Discontents: Art and Politics 1945–60 19
Gavin Butt
1960–70
3 The 1960s: A Decade Out-of-Bounds 38
Anna Dezeuze
1970–80
4 “I’m sort of sliding around in place . . . ummm . . .”: Art in
the 1970s 60
Sam Gathercole
1980–90
5 Pictures and Positions in the 1980s 83
Howard Singerman
1990–2005
6 1990–2005: In the Clutches of Time 107
Henry M. Sayre
Part III: Aesthetics 125
Formalism
7 Form and Formless 127
Caroline A. Jones
Art as Idea
8 Re-Thinking the “Duchamp Effect” 145
David Hopkins
Beauty
9 Regarding Beauty 164
Margaret Morgan
Part IV: Politics 189
Avant-Garde
10 Avant-Garde: A Historiography of a Critical Concept 191
Johanne Lamoureux
Activism
11 Facture for Change: US Activist Art since 1950 212
Jennifer González and Adrienne Posner
Culture Wars
12 “The Senators Were Revolted”: Homophobia and the Culture Wars
231
Jonathan D. Katz
Art and Its Public(s)
13 Crowds and Connoisseurs: Art and the Public Sphere in America
249
Grant Kester
Part V: Identity/Subjectivity 269
The Artist
14 The Writerly Artist: Beautiful, Boring, and Blue 271
Carol Mavor
Diaspora
15 Diaspora: Multiple Practices, Multiple Worldviews 296
Steven Nelson
Feminism
16 Power and Pleasure: Feminist Art Practice and Theory in the
United States and Britain 317
Laura Meyer
Queer
17 Queer Wallpaper 343
Jennifer Doyle
Race/Ethnicity
18 Implications of Blackness in Contemporary Art 356
Pauline de Souza
Embodiment
19 The Paradoxical Bodies of Contemporary Art 378
Christine Ross
Part VI: Methods/Theories 401
Marxism
20 A Shadow of Marx 403
Neil Cummings and Marysia Lewandowska
Poststructuralism
21 Poststructuralism and Contemporary Art, Past, Present, Future .
. . 424
Sarah Wilson
Postcolonial Theory
22 “Fragments of Collapsing Space”: Postcolonial Theory and
Contemporary Art 450
Mark Crinson
Visual Culture
23 Visual Culture Studies: Questions of History, Theory, and
Practice 470
Marquard Smith
Part VII: Technology 491
Mass Culture, High/Low
24 “That’s All Folks”: Contemporary Art and Popular Culture 493
Nick Mirzoeff
Photography/Index
25 Image + Text: Reconsidering Photography in Contemporary Art
512
Liz Kotz
Spectacle/Appropriation
26 Imagine There’s No Image (It’s Easy If You Try): Appropriation
in the Age of Digital Reproduction 534
Dore Bowen
Digital Media
27 “Life-like”: Historicizing Process and Responsiveness in Digital
Art 557
María Fernández
Index 582
Amelia Jones is Pilkington Professor in the History of Art at the University of Manchester. She has curated many exhibitions and is the author of Postmodernism and the En-Gendering of Marcel Duchamp (1994), Body Art/Performing the Subject (1998), and Irrational Modernism: A Neurasthenic History of New York Dada (2004).
"This Companion represents a move away from the more traditionally
conceived broad surveys of contemporary art available to date, and
is refreshing in its innovative approach to this complex subject
... essential reading for students and scholars of contemporary art
history, visual culture, and visual theory, and general readers
just wishing to develop their understanding of this complex
subject." Reference Reviews
“Provocative, wide-ranging, and impressively inclusive…a welcome
and important addition for the understanding of the art of our
historical present and a boon companion for the general reader, the
artist, the student, the art historian and the critic alike.”
Abigail Solomon-Godeau, University of California, Santa Barbara
“By keeping its finger on the pulse of the present, while
commenting on the recent past, this book reminds us why
contemporary art, and contemporary art history, matters." Geoffrey
Batchen, City University of New York
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