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Industry and Intelligence : Contemporary Art Since 1820.

By: Material type: TextTextSeries: Bampton Lectures in AmericaPublisher: New York : Columbia University Press, 2016Copyright date: ©2016Edition: 1st edDescription: 1 online resource (209 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780231540964
Subject(s): Genre/Form: Additional physical formats: Print version:: Industry and IntelligenceDDC classification:
  • 709.04
LOC classification:
  • N6490.G485 2016eb
Online resources:
Contents:
Intro -- Table of Contents -- Acknowledgments -- Introduction: Creative Disruption in the Age of Soft Revolutions -- 1. Contemporary Art Does Not Account for That Which Is Taking Place -- 2. Projection and Parallelism -- 3. Art as a Pile: Split and Fragmented Simultaneously -- 4. 1820: Erasmus and Upheaval -- 5. ASAP Futures, Not Infinite Future -- 6. 1948: B. F. Skinner and Counter-Revolution -- 7. Abstract -- Photo Section -- 8. 1963: Herman Kahn and Projection -- 9. The Complete Curator -- 10. Maybe It Would Be Better If We Worked in Groups of Three? -- 11. The Return of the Border -- 12. 1974: Volvo and the Mise-en-Scène -- 13. The Experimental Factory -- 14. Nostalgia for the Group -- 15. Why Work? -- Notes -- Index.
Summary: The conceptual artist Liam Gillick writes a genealogy of contemporary art, arguing that we need to appreciate its engagement with history. He takes a broad view of artistic creation from 1820 to today, underscoring the industry and intelligence of artists as they have responded to incremental developments in science, politics, and technology.
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Intro -- Table of Contents -- Acknowledgments -- Introduction: Creative Disruption in the Age of Soft Revolutions -- 1. Contemporary Art Does Not Account for That Which Is Taking Place -- 2. Projection and Parallelism -- 3. Art as a Pile: Split and Fragmented Simultaneously -- 4. 1820: Erasmus and Upheaval -- 5. ASAP Futures, Not Infinite Future -- 6. 1948: B. F. Skinner and Counter-Revolution -- 7. Abstract -- Photo Section -- 8. 1963: Herman Kahn and Projection -- 9. The Complete Curator -- 10. Maybe It Would Be Better If We Worked in Groups of Three? -- 11. The Return of the Border -- 12. 1974: Volvo and the Mise-en-Scène -- 13. The Experimental Factory -- 14. Nostalgia for the Group -- 15. Why Work? -- Notes -- Index.

The conceptual artist Liam Gillick writes a genealogy of contemporary art, arguing that we need to appreciate its engagement with history. He takes a broad view of artistic creation from 1820 to today, underscoring the industry and intelligence of artists as they have responded to incremental developments in science, politics, and technology.

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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