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TERRY SMITH, FAHA, CIHA, is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and a Visiting Professor in the Faculty of Architecture, Design and Planning at the University of Sydney. He is the 2009 winner of the Franklin Jewlett Mather Award for art criticism conferred by the College Art Association (USA). During 2001-2002 he was a Getty Scholar at the Getty Research Institute, Los Angeles, and in 2007-8 the GlaxoSmithKlein Senior Fellow at the National Humanities Research Centre, Raleigh-Durham. From 1994-2001 he was Power Professor of Contemporary Art and Director of the Power Institute, Foundation for Art and Visual Culture, University of Sydney. He was a member of the Art & Language group (New York) and a founder of Union Media Services (Sydney). During the 1970s he was art critic at these Australian newspapers: Weekend Australian, Nation Review, Times on Sunday; he continues to write for art journals and magazines throughout the world. A foundation Board member of the Museum of Contemporary Art, Sydney, he is currently a Board member of the Andy Warhol Museum, Pittsburgh.
IN THIS SECTION:
1.) BRIEF
2.) COMPREHENSIVE
BRIEF TABLE OF CONTENTS:
Part I Becoming Contemporary in Euroamerica
Chapter 1 Late Modern Art Becomes Contemporary 16
Chapter 2 The Contemporary Art Boom 44
Part II The Transnational Transition
Introduction 82
Chapter 3 Russia and (East of) Europe 84
Chapter 4 South and Central America, The Caribbean 116
Chapter 5 China and East Asia 150
Chapter 6 India, South and Southeast Asia174
Chapter 7 Oceania 196
Chapter 8 Africa 214
Chapter 9 West Asia 236
Part III Contemporary Concerns
Introduction 256
Chapter 10 World Pictures: Making Art Politically 258
Chapter 11 Climate Change: Art and Ecology 274
Chapter 12 Social Media: Affects fo Time 296
Chapter 13 Coda: Permanent Transition 316
Notes 327
Select Bibliography 334
A Directory of Selected Contemporary
Art Websites 340
Index 342
Picture Credits 346
Note of Thanks 348
COMPREHENSIVE TABLE OF CONTENTS:
Acknowledgments 7
General Introduction: Contemporary Art in Transition: From Late Modern Art to Now 8
Part I Becoming Contemporary in Euroamerica
Chapter 1 Late Modern Art Becomes Contemporary 16
Transformations in Late modern Art: Its Contemporary Aspects 19
Situationism, Gutai, Happenings: Art into Life/Life into Art 19
Pop: The Social Mirror, Refracted 24
The Object Materialized: Minimalism 27
Earthworks: Extending Sculpture’s Field 29
Conceptualism: Reconceiving Art Political Interventions: Direct Democracy, Body, Self, Sexuality 36
Chapter 2 The Contemporary Art Boom 44
The Postmodern Return to Figuration 46
The Two Germanys 46
Trauma of the Victimized 53
The Italian Transavantgarde 53
The American Scene Again 55
British Schools 56
Critical Postmodernism 58
Retro- Sensationalist Art 65
Remodernism in Sculpture and Photography 66
Big Photography 70
Spectacle Architecture as Contemporary Art 75
Contemporary Art Becomes a Style 79
Part II The Transnational Transition
Introduction 82
Chapter 3 Russia and (East of) Europe 84
Russia 85
Art under Late Socialism 86
Russian Art Becomes Contemporary 89
Late Cold War Modern Art Elsewhere (East of) Europe 91
Parodies of Official Imagery 93
Performance Art Tests the Limits 97
Czechoslovakia 100
Hungary 100
The Baltic Nations 103
After the Fall: Post-Communist Art? 105
Romania 106
The Breakup of Yugoslavia 110
Beyond "Eastern" and "Central" Versus "Western" Europe 113
Translating the European Ideal 114
Chapter 4 South and Central America, The Caribbean 116
South America 116
Argentina 121
Brazil 125
Colombia 135
Chile 137
Mexico 139
Cuba 139
Elsewhere in the Caribbean 144
Seeing the World's Currentsv149
Chapter 5 China and East Asia 150
China 150
Modern Chinese Art 151
Contemporary Chinese Art 152
Taiwan 169
Japan 169
Experimental Art in the 1950s to 1970s 169
Contemporary Art 169
Korea 171
Chapter 6 India, South and Southeast Asia174
India 174
Pakistan 180
Thailand 185
Indonesia 188
The Philipines 191
Chapter 7 Oceania 196
Papua New Guinea 196
Aotearoa/New Zealand 199
Australia 203
Chapter 8 Africa 214
Modern Art in Africa 215
South Africa Under Apartheid 216
Popular Painting and Sculpture in Central Africa 221
Commercial to Art Photography 227
South Africa After Apartheid 228
African Art Enters the International Circuit 235
Chapter 9 West Asia 236
Iraq 237
Jordan 238
Iran 241
Palestine 245
israel 249
From Hurufiyah to Contemporary Cosmopolitanism 253
Part III Contemporary Concerns
Introduction 256
Chapter 10 World Pictures: Making Art Politically 258
One World 259
Global Networks 260
Intervening Critically 264
Profiles in Shadowland 269
Bare labor 271
Chapter 11 Climate Change: Art and Ecology 274
Art and Enviromentalism 275
Crisis and Catastrophe 279
Collective Actions, Sustainable Solutions 282
Designs for Living 285
Experimental Geography 287
Imaging the Future Dystopia 290
Eco-Chic, Greenwashing, Spectacle 292
Chapter 12 Social Media: Affects fo Time 296
Mediation, Immersion, Intervention, Agency 297
To be With Time is All We Ask 309
Chapter 13 Coda: Permanent Transition 316
Notes 327
Select Bibliography 334
A Directory of Selected Contemporary
Art Websites 340
Index 342
Picture Credits 346
Note of Thanks 348
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