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Alexander Dumbadze is assistant professor of contemporary art at George Washington University. He is president of the Society of Contemporary Art Historians and a cofounder of the Contemporary Art Think Tank. He has written essays for a number of international exhibition catalogues, and is a recipient of the Creative Capital| Warhol Foundation Arts Writers Grant. His book Bas Jan Ader: Death is Elsewhere is forthcoming in 2013.
Suzanne Hudson is assistant professor of contemporary art at the University of Southern California. She is president emeritus and chair of the executive committee of the Society of Contemporary Art Historians and a cofounder of the Contemporary Art Think Tank. In addition to her work as an art historian, she is an active critic whose work has appeared in international exhibition catalogues and such publications as Parkett, Flash Art, and Art Journal; she is a regular contributor to Artforum. In 2009 she published Robert Ryman: Used Paint, and Painting Now is forthcoming in 2013.
Table of Contents
Alexander Dumbadze and Suzanne Hudson, “Contemporary Art: 1989 to the Present”
2. The Contemporary and Globalization
Tim Griffin, “Worlds Apart: Contemporary Art, Globalization, and the Rise of Biennials”
Terry Smith, “'Our’ Contemporaneity?”
Jean-Philippe Antoine, “The Historicity of the Contemporary is Now!”
3. Art After Modernism and Postmodernism
Julian Stallabrass, “Elite Art in an Age of Populism”
Monica Amor, “’Of Adversity we Live!’”
Pauline Yao, “Making it Work: Artists and Contemporary Art in China”
Jan Verwoert, “Form Struggles”
Anne Ellegood, “Formalism Redefined”
Joan Kee, “The World in Plain View: Form in the Service of the Global”
5. Medium Specificity
Sabeth Buchmann, “The (Re)Animation of Medium Specificity in Contemporary Art”
Irene Small, “Medium Aspecificity”
Richard Shiff, “Specificity”
6. Art and Technology
Michelle Kuo, “Test Sites: Fabrication”
Ina Blom, “Inhabiting the Technosphere: Art and Technology Beyond Technical Invention”
David Joselit, “Conceptual Art 2.0”
Massimiliano Gioni, “In Defense of Biennials”
Geeta Kapur, “Curating in Heterogeneous Worlds”
Caroline Jones, “Biennial Culture and the Aesthetics of Experience”
Liam Gillick and Maria Lind, “Participation”
Johanna Burton, “The Ripple Effect: ‘Participation’ as an Expanded Field”
Sofia Hernández Chong Cuy, “Publicity and Complicity in Contemporary Art”
Andrea Giunta, “Activism”
Julia Bryan-Wilson, “Knit Dissent”
Raqs Media Collective, “Light From a Distant Star: A Meditation on Art, Agency, and Politics”
Juliane Rebentisch, “Participation in Art: 10 Theses”
Tirdad Zolghadr, “Fusions of Power: Four Models of Agency in the Field of Contemporary Art, Ranked Unapologetically in Order of Preference”
T.J. Demos, “Life Full of Holes: Contemporary Art and Bare Life”
11. The Rise of Fundamentalism
Sven Lütticken, “Monotheism à la Mode”
Terri Weissmann, “Freedom’s Just Another Word”
Atteqa Ali, “On the Frontline: The Politics of Terrorism in Contemporary Pakistani Art”
Joao Ribas, “Judgment’s Troubled Objects”
Frank Smigiel, “A Producer’s Journal, or Judgement A Go-Go,”
Lane Relyea, “After Criticism”
Olav Velthuis, “Globalization and Commercialization of the Art Market”
Mihai Pop, Sylvia Kouvali, and Andrea Rosen, “Three Perspectives on The Market”
Ayreen Anastas and Rene Gabri, “Untitled”
14. Art Schools
Katy Siegel, “Lifelong Learning”
Anton Vidokle, “Art without Institutions”
Pi Li, “Will the academy become a monster?”
Our Literal Speed, “Our Literal Speed”
Chika Okeke-Agulu, “Globalization, Art History, and the Specter of Difference”
Carrie Lambert-Beatty, “The Academic Condition of Contemporary Art”