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.

Through historical contextualization, scholarly rigour, and cross-disciplinary methods, this program trains students to produce pioneering research into newly emerging art and design practices. The authors in this volume remain positive about the potential of universities to create the conditions of their own reinvention, by renewing themselves from within and by working in concert with the communities around them. This spurred a year-long journey for Smith, responding to ideas, events and encounters in the art world in the process of questioning what “curating” is today, which forms the heart of this publication.“Through his act of global metacurating, Terry Smith places different and sometimes contradictory curatorial practices and attitudes into a panorama that fascinates and intellectually engages the reader. https://www2.ocadu.ca/event/terry-smith-conceiving-contemporary-composition An initial reaction is that this has been a long time coming. They assess the work of foundations in many parts of the world and outline the climate for philanthropy in Australia.Their main focus is the increasingly pertinent question: How might private initiatives most help contemporary art in Australia, now and in the foreseeable future, taking into account the regional and international contexts in which art is produced and circulates?All publications are available for sale through Sherman Contemporary Art Foundation.
Has the modern university failed? The State of Art History: Contemporary Art Terry Smith What are we to make of the recent signs that contemporary art has become?to the surprise of many, including many of those most directly involved?a field within the discipline of art history? Artists, critics, curators, gallerists, auctioneers, collectors, or the public? Addressing a perceived gap in existing literature on the subject, the series focuses on three broad strands: the issue of temporality, the role of contemporary media and computational technologies, and how artistic practice makes epistemic claims.The Contemporary Condition series edited by Geoff Cox and Jacob Lund, Volume 02The conversations are framed by Smith’s opening chapter “The Discourse” in which he tracks the advent of a self-reflexive “discursive” era in curating.


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