Not Signed-In
Which clippings match 'Contemporary Art' keyword pg.1 of 8
19 OCTOBER 2016

Avant-garde: exploration and radical creativity that clashes with convention OR simply a carnival of aestheticism?

"Turning to the term 'avant-garde' itself, it seems to have become a commonplace in our ways of thinking about art. Since the nineteenth century, its use has become widespread, designating any artistic movement that can be described as innovative. The term's fate is grounded in the relevance of its military metaphorics, which liken artistic invention to the actions of a small band of forces that sets off in advance of an army in order to clear its path. We thus strike upon several basic characteristics of the avant-garde: first, the notion that the avant-garde restores the collective dimension of explorative creativity. But the term also evokes the conditions of conflict that arise between this creativity and the prevailing society; at the same time, we must keep in mind that 'avant-garde' designates artistic activity as the means for opening up new territory.

The term's current problems arise from its social and economic valorization, which has become so important today that all artists want to be considered avant-garde—even though they generally consider the essential character of avant-gardism to involve little more than a spectacular revolution in form. The notion of avant-gardism subsequently takes on a different meaning than it had originally: it has come to signify a mindset of formal innovation, rather than a dedication to exploration and radical creativity that clashes with convention. Thus the positions of an entire range of so-called avant-gardes can be accommodated within an economic consensus that values formal innovation for reasons of competitiveness and profitability. At the same time, competitive rivalry leads to the disappearance of the collective dimension of innovative creativity which had been, no doubt, a fundamental characteristic of the avant-garde. We must therefore accept the idea that the very evolution of the avant-garde, which compels it to follow the trends of the market place, also brings about its death—a death to which the contemporary art market and institutional consensus alike seem fully determined have us bear witness by crowning its most ridiculous propositions with museum exhibitions. These preliminary remarks highlight the instability of terms such as 'avant-garde,' as far as artistic experience goes. For it is by no means clear that the term means the same thing for avant-garde of the first half of the twentieth century as it does for the avant-garde that followed."

(Philippe Sers and Jonathan P. Eburne, 2010, p.850)

The Radical Avant-Garde and the Contemporary Avant-Garde; Author(s): Philippe Sers and Jonathan P. Eburne; Source: New Literary History, Vol. 41, No. 4, What Is an Avant-Garde? (AUTUMN 2010), pp. 847-854. Published by: The Johns Hopkins University Press.

1

TAGS

art as innovation • artistic activity • artistic experience • artistic intelligibility • artistic inventionartistic movementavant-gardeavant-garde art • avant-gardism • carnival of aestheticism • clashes with convention • collective dimension • competitive rivalry • competitiveness • conceptual territory • conflictcontemporary art • contemporary art market • economic valorization • exploration and radical creativity • explorative creativity • formal innovation • innovative • innovative creativity • institutional consensus • interdiction • Jonathan Eburne • military metaphor • new territory • opening up new territory • Philippe Sers • profitability • radical avant-garde • rupture • social valorization • spectacular revolution in form • strategic interdiction • tactical interdiction • territory grab • valorization

CONTRIBUTOR

Simon Perkins
28 FEBRUARY 2016

Infinity Mirrored Room: The Souls of Millions of Light Years Away

"Yayoi Kusama's Infinity Mirrored Room, a mirror-lined chamber housing a dazzling and seemingly endless LED light display, will be featured in the inaugural installation."

1
2

3

CONTRIBUTOR

Simon Perkins
28 DECEMBER 2015

What is art for?

"Alain de Botton gives his top five reasons why art is such a vital force for humanity. Are we wrong to like pretty pictures? Why is some art painful to look at? Can art heal your feelings of urban alienation? Relax, watch and find out."

1

TAGS

Alain de Botton • animated guide • animated presentationartart and designart appreciationart galleryartworkscelebrity culturecontemporary artcorrectionfine art • hopefulness • human condition • meaning of art • pretty things • visual artwork of artyellow

CONTRIBUTOR

Simon Perkins
14 MAY 2015

CHINA 8: Contemporary Art from China on the Rhine and Ruhr

CHINA 8 – Contemporary Art from China on the Rhine and Ruhr May 15 – September 13, 2015.

"Eight cities along the Rhine and Ruhr, nine museums, around 120 artists – the CHINA 8 exhibition is the most comprehensive survey of contemporary Chinese art held in Germany to date. Alongside established artists, the positions of younger and newly emerging artists are also represented. Nine museums in Düsseldorf, Duisburg, Essen, Gelsenkirchen, Hagen, Marl, Mülheim an der Ruhr and Recklinghausen have come together for this joint project and will be showing works from the fields of painting, photography, calligraphy, ink drawing, sculpture, installation art and video from 15th May to 13th September 2015. The 'eight' in the show’s title is not only the number of the participating cities, but also a significant Chinese lucky number."

1
2

TAGS

2015 • Adou • Alfred Ko • art exhibition • Aspartime • Cai Dongdong • Chen Shaoxiong • Chen Wei • Chen Xiaoyi • Chinese art • Chinese artists • contemporary artcontemporary art exhibitionscontemporary Chinese art • Du Yan Fang • Duisburg • Dusseldorf • Eason Tsang Ka Wai • Essen • Gelsenkirchen • German exhibition • Hagen • Jiang Pengyi • Li Weiyi • Li Zhengde • Liang Weizhou • Lin Ke • Lin Ke(1984) • Ma Daha Group • Ma Qiusha • Marl • Mo Yi • Mulheim an der Ruhr • Peoples Republic of Chinapolitical artprotest works • Recklinghausen • retrospective exhibition • Shan Feiming • Shao Wenhuan • South Ho Siu Nam • Wang Ningde • Wang Qingsong • Wang Youshen • Xiao Xiao • Zhuang Hui • Zong Ning

CONTRIBUTOR

Simon Perkins
09 MAY 2015

Six years: the dematerialization of the art object from 1966 to 1972

"Lippard was a primary critic and theorist of Conceptual art; this book, however, provides not commentary but, instead, primary documentation. It takes the form of an annotated, thematic timeline: the chapters list books (including exhibition catalogs) published each year, followed by articles, statements, activities, and works arranged by month. Photographs illustrate selected works. The annotations are, for the most part, as documentary as possible (transcripts, excerpts of artists' statements, etc.). Lippard's editorial hand is most visible in her inclusions and exclusions; less so in her only occasional textual insertions. As such, the book performs as Lippard had envisioned: 'to expose the chaotic network of ideas in the air, in America and abroad, between 1966 and 1971' (5)."

Lucy Lippard (1973). "Six years: the dematerialization of the art object from 1966 to 1972; a cross-reference book of information on some esthetic boundaries". New York: Praeger.

1

TAGS

1973 • Adrian Piper • Agnes Denes • Alighiero Boetti • Allan Kaprow • Allen Ruppersberg • annotationsart objectArt-Language • arte povera • Athena Tacha Spear • Barry Flanagan • Barry Le Va • Bas Jan Ader • Bernar Venet • Bruce McLean • Bruce Nauman • Carl Andre • Catherine Morris • chaotic network of ideas • Charles Harrison • Christine Kozlov • chronology • Claes Oldenburg • conceptual artcontemporary art • Dan Graham • Daniel Buren • David Askevold • dematerialisation of the art object • Dennis Adrian • Dennis Oppenheim • digital art production • Donald Burgy • Douglas Huebler • earth art • Edward Ruscha • Eldritch Priest • Eleanor Antin • ephemeral art • Franz Erhard Walther • Franz Walther • Frederick Barthelme • Gerald Ferguson • Gerry Schum • Gilbert and George • Guerrilla Art Action Group • Hanne Darboven • Hans Haacke • Ian Burn • Ian Wilson • idea art • immateriality • information art • Jack Burnham • James Lee Byars • Jan Dibbets • John Baldessari • John Latham • Joseph BeuysJoseph Kosuth • Keith Arnatt • Keith Sonnier • La Monte Young • land art • Lawrence Weiner • Lee Lozano • Lucy Lippard • material concerns • materiality of artefacts • Mel Bochner • Mel Ramsden • Michael Asher • Michael Heizer • Michael Snow • Michelangelo Pistoletto • minimal art • N.E. Thing Co. • object art • On Kawara • performance art • Peter Downsbrough • Peter Hutchinson • post-conceptual • post-conceptual art • post-conceptualism • postconceptual • postconceptualism • provocative book • Rafael Ferrer • Richard Artschwager • Richard Long • Richard Serra • Robert Barry • Robert Morris • Robert Ryman • Robert SmithsonSeth SiegelaubSigmar PolkeSol LeWitt • Stanley Brouwn • Stephen Kaltenbach • Tony Smith • Victor Burgin • video art movements • Vincent Bonin • Vito Acconci • Walter de Maria • William Wegman • William Wiley • Willoughby Sharp • Wolf Vostell • Yoko Ono

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.