Item description for Art After Appropriation: Essays on Art in the 1990s by John C. Welchman, Lucien Styrk, Frank Silverstein, Stan Godlewski, Robert Gary Babcock, E. A. Conwell, Eric Kingson & Kevin Nowlan...
Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters discuss, among other things, how the second world culture of the USSR gave rise to new visibility for photography at the Union's dissolution in 1989, and explore how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin.
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Est. Packaging Dimensions: Length: 0.5" Width: 7" Height: 10" Weight: 1.75 lbs.
Release Date May 1, 2001
ISBN 9057010437 ISBN13 9789057010439
Availability 0 units.
More About John C. Welchman, Lucien Styrk, Frank Silverstein, Stan Godlewski, Robert Gary Babcock, E. A. Conwell, Eric Kingson & Kevin Nowlan
John Welchman, who is also the co-author of Please to the Table: The Russian Cookbook, is an art historian and travel writer whose articles have appeared in The New York Times, International Herald Tribune, The Village Voice, The Economist, and Artforum. He is a professor of art history at the University of California, San Diego.
Reviews - What do customers think about Art After Appropriation: Essays on Art in the 1990s?
About time Dec 17, 2001
I can't say I've been delighted about much art-writing the last 5 or 6 years. Welchman gets 5 stars for doing the foot-work while not misplacing his head. His book looks at an interesting mix of artists, takes some risks, and cobbles together an interesting theory... and, quite frankly, much of what he says is not only correct, but has really needed to be said for some time now. It seems that much writing about art has gotten so niche-oriented or arbitrary that Welchman's approach is welcome. By rehashing the legacy of appropriation, something that we thought the art world had already figured out, Welchman springs through the unguarded front doors of mainstream discourse in an expansive manner.