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Chromophobia
Reaktion Books
2005
TMBA004

The central argument of Chromophobia is that a chromophobic impulse – a fear of corruption or contamination through colour – lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge colour, either by making it the property of some ‘foreign body’ – the oriental, the feminine, the infantile, the vulgar, or the pathological – or by relegating it to the realm of the superficial, the supplementary, the inessential, or the cosmetic.

Chromophobia has been a cultural phenomenon since ancient Greek times; this book is concerned with forms of resistance to it. Writers have tended to look no further than the end of the nineteenth century. David Batchelor seeks to go beyond the limits of earlier studies, analysing the motivations behind chromophobia and considering the work of writers and artists who have been prepared to look at colour as a positive value. Exploring a wide range of imagery including Melville’s ‘great white whale’, Huxley’s reflections on mescaline, and Le Corbusier’s ‘Journey to the East’, Batchelor also discusses the use of colour in Pop, Minimal, and more recent art.

Art Since 1900: Modernism, Antimodernism, Postmodernism
Thames & Hudson
2004
TMFO018

A landmark in art history and the most anticipated art publishing event of the new millennium. In this groundbreaking and original work of scholarship, four of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth century, an age when artists in the United States, Europe, and elsewhere sought to overturn the traditions of the past and expectations of the present in order to invent new practices and forms.

Adopting a unique year-by-year approach, Foster, Krauss, Bois, and Buchloh present more than 50 short essays, each focusing on a crucial event – the creation of a seminal work, the publication of an artistic manifesto, the opening of a major exhibition – to tell the story of the dazzling diversity of practice and interpretation that characterizes the art of the period. All the turning points and breakthroughs of modernism and postmodernism are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors’ texts are more than 300 of the most important works of the century, many reproduced in full color.
The book’s flexible structure and extensive cross-referencing allow readers to follow any one of the many narratives that unfold, whether that be the history of a medium such as photography or painting, the development of art in a particular country, the influence of a movement such as surrealism or feminism, or the emergence of a stylistic or conceptual category like abstraction or minimalism. Boxes give further background information on the important figures and issues.

In their insightful introductions, the four authors explain the different methods of art history at work in the book, providing the reader with the conceptual tools for further study. A roundtable discussion at the close of the book considers the questions raised by the preceding decades and look ahead to the art of the future. A glossary of terms and concepts completes this extraordinary volume.

Performative Realism
Museum Tusculanum Press
2005
TMGA020

New forms of art, culture and theory have recently emerged through engagements with the realities of the social world and everyday life which are not primarily about representation but rather about participation and narration. These new forms are based on viewer responses and engagement, thus performatively creating open-ended situations rather than autonomous works with closure. Performative theory, drawing mostly on studies of speech acts, proves adequate to describe and analyse these new forms of art and culture and their engagement with the real. Performative Realism scrutinizes a range of contemporary works that experiment with audience participation and processuality within art and culture, as well as it takes issue with theories of performativity and performance. Performative Realism contains contributions from leading Danish scholars working within a broad range of academic fields such as Media Studies, Art History, Theatre Studies and Cultural Studies. The issues addressed covers Scandinavian as well as international installation art, performance art, theatre, photography, movies, literature and role-playing.

Artists’ Work Classification
Künstlerhaus Büchsenhausen
2006
TMGE002

Since 2004 Alison Gerber has been researching and documenting artists’ work in order to create a classification system for the labor of artists. In her work, she is interested in the ideas and assumptions that a viewer could come to when confronted with a new artifact. In this project, Gerber explores positivism and professionalization, the relationships between contemporary art and other disciplinary fields, and the ambivalent processes of making the unseen visible. In the framework of her fellowship, she has produced a book outlining the artists’ work classification, laid out for use by artists in order to catalog their labor. A reader, coming across the book by chance, would assume that the book was meant for use by professional artists. The book is being distributed to public and academic libraries throughout the world.

The Third Hand. Collaboration in Art from Conceptualism to Postmodernism
University of Minnesota Press
2001
TMGR021

The lone artist is a worn cliché of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.

Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples – like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay – who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.

After Modern Art 1945-2000
Oxford University Press
2000
TMHO025

Modern and contemporary art can be both baffling and beautiful; it can also be innovative, political, and disturbing. This book sets out to provide the first concise interpretation of the period as a whole, clarifying the artists and their works along the way. Closely informed by new critical approaches, it concentrates on the relationship between American and European art from the end of the Second World War to the eve of the new millennium.

Primary Documents: A Sourcebook for Eastern and Central European Art since the 1950s
New York: The Museum of Modern Art
2002
TMHO026

Although a number of books have told the story of modern and contemporary art in Eastern and Central Europe, missing from these accounts have been the sources themselves. This book, the result of years of research by an international team of artists, curators, editors, translators, and scholars working with the Museum of Modern Art, presents primary documents drawn from the artistic archives of Eastern and Central Europe during the second half of the twentieth century. Because the practice of criticism in this region was for many years almost completely suppressed, the writings of the artists themselves often fulfill a critical as well as an aesthetic and ideological function. The manifestoes, photo essays, proposals, scripts, and other writings assembled here comprise the first anthology of this material in any language. The source materials presented—almost all of them previously untranslated into English—are from Bulgaria, Croatia, Czech Republic, Estonia, Hungary, Latvia, Macedonia, Poland, Romania, Russia, Serbia, Slovakia, and Slovenia. The book is introduced by Ilya Kabakov. Each chapter is preceded by a brief introduction and is followed by a case study that chronicles an event or the creation or reception of an artwork, illustrating the issues raised in that chapter.

Daugiakalbiai peizažai 1971-2021
Vilnius: Vilniaus dailės akademija
2022
TMJU908

Knygoje „Daugiakalbiai peizažai 1971-2021“ Raminta Jurėnaitė pristato savo straipsnių rinkinį, kuruotas parodas, pilną bibliografiją.

Lietuvos nacionalinio dailės muziejaus direktorius Arūnas Gelūnas knygą trumpai pristato šiais žodžiais:

„Ši knyga primena įdomų istorinį filmą, kuriame laikmetis ar fenomenas nušviečiamas pasakojant vieno asmens istoriją. Toks asmuo čia yra viena svarbiausių Lietuvos kuratorių ir meno kritikių Raminta Jurėnaitė, kuri, tiek atvirai ir šmaikščiai pasakodama apie savo kūrybinį ir asmeninį gyvenimą, tiek pateikdama savo įvairiais laikmečiais rašytus tekstus ir (gausiai iliustruotą) kuruotų parodų dokumentaciją, sukuria įtaigią ir patrauklią Lietuvos pastarųjų penkerių dešimtmečių meno istorijos panoramą. Cituojant pačią autorę, „ateities kūrybinių sumanymų nerimo genami“ vis mažiau turime laiko atsigręžimui į praeitį, tad ši knyga savaip palies visus – ir vyresnės kartos skaitytojus, atrasiančius save tarp minimų reiškinių stebėtojų ir dalyvių, ir jaunimą, kuris gaus vertingų naujų žinių apie XX a. pabaigos – XXI a. pradžios Lietuvos meno sceną (dažnai – tarptautiniame kontekste). 1978-2021 m. rašytuose meno kritikos tekstuose pajusime ir cenzūros šaltį, ir kovų už naujus meninės raiškos būdus aidus, prieš akis iškils naujai atsirandančių meno institucijų siluetai, o taip pat išsisklaidys iliuzija, kad tai, ką Lietuvos meno lauke turime dabar, tarsi egzistavo visada. Dailėtyrininkams, esamiems ir būsimiems, ši knyga privaloma, bet suteiks daug malonumo ir kitoms inteligentiškų skaitytojų rūšims.“

Medijų kultūros balsai: teorijos ir praktikos
Vilnius: Mene
2008
TMMI077

Tai primoji knyga Lietuvoje, nagrinėjanti medijų kultūrą ir pristatanti ne tik teorijas, bet ir vietines medijų praktikas. Medijos čia laikomos tarpdalykinių studijų, sujungiančių technologijas, mokslą, meną ir kultūrą apskritai, objektu. Knyga yra interneto žurnalo apie medijų kultūrą Balsas.cc tęsinys.

Knyga sudomins studentus ir dėstytojus iš komunikacijos mokslų, medijų studijų, filosofijos, sociologijos, kultūrologijos, literatūrologijos ir menotyros sričių, taip pat menininkus, dizainerius, internautus, technologijų specialistus ir visus besidominčius medijų kultūra.

„Praktika ir teorija dar niekada nebuvo taip pavojingai arti viena kitos, kaip šioje knygoje. Kiekvieno laukia ta pati patirtis: būti įtrauktam, užvaldytam, iš skaitytojo nejučia tapti knygos veikėju ir atsidurti tiesioginio teorijos poveikio lauke.“ – prof. Brian O’Blivion

Feminism-Art-Theory. An Anthology 1968-2000
John Wiley & Sons
2001
TMRO046

Charting over 30 years of feminist debate on the significance of gender in the making and understanding of art, this archival anthology gathers together 99 indicative texts from North America, Europe and Australasia.

The volume embraces a broad range of threads and perspectives, from diverse ethnic approaches, lesbian theory, and postmodernism to education and aesthetics. The writings of artists and activists are juxtaposed with those of academics, creating an entertaining and provocative web of ideas. Some of the texts are now regarded as classic, but the anthology is particularly notable for its inclusion of rare and significant material not reprinted elsewhere.

The scale and structure of the volume make it a uniquely flexible resource for study and research. Each of the nine sections focuses on a specific area of debate and is introduced by a descriptive summary. The texts within each chapter are then presented in chronological order, indexing differing positions as they developed over time. Lists of essential reading are provided for students or lay readers seeking an introduction, whilst more extensive bibliographies at the end of each chapter and at the end of the volume support further research.

In the Place of the Public Sphere?
Berlin: b_books
2005
TMSH051

“In the place of the public sphere?” takes its point of departure in conceptions of practice and spectatorship based on the notion of a fragmented public sphere, and explores the potentials, problematics and politics lying behind a construction (real or imaginary) of particular “public” spheres. How does one perceive and / or construct specific public spheres and positional and / or participatory models for spectatorship as opposed to (modernist) generalized ones? Does this entail reconfiguration of the (bourgeois) notion of the public sphere into a different arena and / or into a mass of difference, overlapping spheres? or, in other words, what can be put in the place of the public sphere? private zones, salons, institutions, sub- and / or counterpublics? and what are the different arenas, possibilities and methods for interaction within and between them? finally, the question to be raced is how this should relate to artistic production and arts spaces and institutions?