";s:4:"text";s:4220:"The author argues that it is diversity, or the contemporaneity of difference, not a convergence towards sameness, which makes today’s art contemporary.Who gets to say what counts as contemporary art? And Richard Shiff and W.J.T. Depicting used clothing, both as it is bundled for shipment in Brooklyn and as it is displayed for sale on the streets of Uganda, the sequence is part of a striking visual record of new cultural forms and economies emerging as others are left behind.What are the major changes in world contemporary art? They pose sharply critical questions about how universities are being shaped by varying degrees of internal doubt, external antipathy yet increasing public need.
Through historical contextualization, scholarly rigour, and cross-disciplinary methods, this program trains students to produce pioneering research into newly emerging art and design practices. This book is reconstructed from the transcripts of those sessions. The volume’s centerpiece is a sequence of photographs from Zoe Leonard’s Analogue project.
As might be expected of a Sydney setting, warmth of feeling and openness of spirit pervaded both occasions. Addressing topics ranging from the current political crisis around Australian universities to the persistence of medieval conceptions of knowledge, they ask: what forms will the university take in postmodernity?In this ambitious book, Terry Smith chronicles the modernist revolution in American art and design between the world wars–from its origins in the new industrial age of mass production, automation, and corporate culture to its powerful and transforming effects on the way Americans came to see themselves and their world. Revising his well-known histories of contemporary art, Terry Smith argues that we must respond to the compelling need for coeval composition at a time defined by the contemporaneity of divisive difference.