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 …
Is there such a thing as contemporary art history? The contemporary, after all—as much as we may want to consider it otherwise—is being made history as it happens. By what means do we examine this moving target? These questions lie at the center of Jane Blocker’s Becoming Past. The important point is not whether there is—or should be—contemporary art history, Block…
Literature and art have always depended on imitation, and in the past few decades quotation and appropriation have become dominant aesthetic practices. But critical methods have not kept pace with this development. Patrick Greaney reopens the debate about quotation and appropriation, shifting away from naïve claims about the death of the author. In interpretations of art and literature fro…
In Out of Time, Todd McGowan takes as his starting point the emergence of a temporal aesthetic in cinema that arose in response to the digital era. Linking developments in cinema to current debates within philosophy, McGowan claims that films that change the viewer’s relation to time constitute a new cinematic mode: atemporal cinema. In atemporal cinema, formal distortions of time introd…
The art of Harry Gamboa Jr. encompasses photography, video, performance, installation, essays, fiction, poetry, and lesser-known forms of his own creation. Working in the tradition of Bertolt Brecht and Samuel Beckett, Gamboa has pioneered multimedia formats for nearly three decades, setting a precedent for the work of artists such as Coco Fusco, Guillermo Gómez-Peña, and Daniel J. Martinez. …
Digital technology has transformed contemporary culture. New social media, hyperlinks, and cut-and-paste techniques have changed the way we write. E-books, which allow us to carry entire libraries with us, are bringing new browsing and reading habits. Digital editing and other on-the-fly postproduction processes have altered how we make music, films, and visual art. A key rhetorical trope emplo…
Imagined Museums examines the intertwined politics surrounding art and modernization in Morocco from 1912 to the present by considering the structure of the museum not only as a modern institution but also as a national monument to modernity, asking what happens when museum monuments start to crumble. In an analysis of museum history, exhibition policy, the lack of national museum space for mo…
What it is like to be an animal? Ron Broglio wants to know from the inside, from underneath the fur and feathers. In examining this question, he bypasses the perspectives of biology or natural history to explore how one can construct an animal phenomenology, to think and feel as an animal other—or any other. Until now phenomenology has grappled with how humans are embedded in their world…
After decades in which American popular culture dominated global media and markets, Japanese popular culture—primarily manga and anime, but also toys, card and video games, and fashion—has exploded into a worldwide phenomenon. From Pokémon and the Power Rangers to Paranoia Agent and Princess Mononoke, Japanese popular culture is consumed by an eager and exponentially increasing audience of…
The act of bearing witness can reveal much, but what about the figure of the witness itself? As contemporary culture is increasingly dominated by surveillance, the witness—whether artist, historian, scientist, government official, or ordinary citizen—has become empowered in realms from art to politics. In Seeing Witness, Jane Blocker challenges the implicit authority of witnessing through t…