Art Criticism Online

"International Art English" was produced by Triple Canopy as part of its Research Work project area, supported in part by the Brown Foundation, Inc., of Houston, the National Endowment for the Arts, and the New York City Department of ...

Art Criticism Online

The mainstream press often celebrates the ‘tweeting’, ‘facebooking’ and ‘gramming’ of art commentary. Yet online forms of art criticism have a much longer and more varied history than we think. Far preceding the art discussions happening on the likes of Twitter and Facebook. Before art discussions took place on social media, there were networked art projects and art critical Bulletin Board Systems, email discussion lists and blogs. Art Criticism Online: A History provides the first in-depth history of art criticism following the Internet. The book considers the core stages of development and considers where critical practice is heading in the future. Charlotte Frost's Art Criticism Online provides a much needed account and indispensable survey of the ways in which Western art criticism has been profoundly affected and changed by the online environment. Building on the history of networked and participatory criticism predating the Internet, Frost traces three different phases of online art criticism unfolding in early discussion groups, on listservs, and within today's blogosphere and social media platforms. The book expertly captures nuanced transformations in art criticism's content, form and style, analyzing how approaches have shifted in response to the evolution of the art world terrain. Art Criticism Online successfully manages to provide readers with a map of the dynamic expressions of today's critical culture. --Christiane Paul, Adjunct Curator of Digital Art, Whitney Museum, Director/Chief Curator, Sheila C. Johnson Design Center, Parsons/The New School So what happened to art criticism, anyway? This lively history is a vital resource for anyone interested in this question. Drawing on a half-century of examples, the book discusses the new, experimental writing practices the internet has made possible, and its destructive effects, making a persuasive case that art criticism hasn't gone away it's just changed radically. --Michael Connor, Artistic Director, Rhizome

Duty Free Art

Likewise in the case of many exhibition press releases—or so Alix Rule and David Levine claim in their widely read essay “International Art English.” International Art English, or “IAE,” is their name for the decisively amateurish ...

Duty Free Art

What is the function of art in the era of digital globalization? How can one think of art institutions in an age defined by planetary civil war, growing inequality, and proprietary digital technology? The boundaries of such institutions have grown fuzzy. They extend from a region where the audience is pumped for tweets to a future of “neurocurating,” in which paintings surveil their audience via facial recognition and eye tracking to assess their popularity and to scan for suspicious activity. In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world’s most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.

A Philosophy of the Art School

Dave Hickey, “Art Schools: A Group Crit,” Art in America (May 2007): 106. Daniel Clowes, “Art School Confidential,” in Eightball 7 (Seattle: Fanta-graphics Books, 1991), 19. Alix Rule and David Levine, “International Art English,” ...

A Philosophy of the Art School

Until now, research on art schools has been largely occupied with the facts of particular schools and teachers. This book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The first of these is essentially an old approach: a training guided by the artistic values of a single artist-teacher. The second dates from the 1960s, and is based around the group crit, in which diverse voices contribute to an artist’s development. Understanding the underlying principles and possibilities of these two models, which sit together in an uneasy tension, gives new insights into the character of contemporary art school teaching, demonstrating how art schools shape art and artists, how they can be a potent engine of creativity in contemporary culture and how they contribute to artistic research. A Philosophy of the Art School draws on first-hand accounts of art school teaching, and is deeply informed by disciplines ranging from art history and art theory, to the philosophy of art, education and creativity.

The Contemporary Art Scene in Syria

Most young artists in Syria did speak fairly good English, although they did not usually frame their practice in the current theory-laden “artspeak” or what has been termed “International Art English”, that also seem to be a decisive ...

The Contemporary Art Scene in Syria

This book focuses on the expanding contemporary art scene in Syria, particularly Damascus, during the first decade of the twenty-first century. The decade was characterized by a high degree of experimentation as young artists began to work with artistic media that were new in Syria, such as video, installation and performance art. They were rethinking the role of artists in society and looking for ways to reach audiences in a more direct manner and address socio-cultural and socio-political issues. The Contemporary Art Scene in Syria will be of interest to scholars of global and Middle Eastern art studies, and also to scholars interested in the recent social and cultural history of Syria and the wider Middle East.

Playing to the Gallery

'International Art English rebukes ordinary English for its lack of nouns. Visual becomes visuality. Global becomes globality. Potential becomes potentiality. And experience of course becomes experienceability.

Playing to the Gallery

'It's easy to feel insecure around art and its appreciation, as though we cannot enjoy certain artworks if we don't have a lot of academic and historical knowledge. But if there's one message that I want you to take away it's that anybody can enjoy art and anybody can have a life in the arts - even me! For even I, an Essex transvestite potter, have been let in by the artworld mafia.' Now Grayson Perry is a fully paid-up member of the art establishment, he wants to show that any of us can appreciate art (after all, there is a reason he's called this book 'Playing to the Gallery' and not 'Sucking up to an Academic Elite'.) Based on his hugely popular Reith Lectures and full of words and pictures, this funny, personal journey through the art world answers the basic questions that might occur to us in an art gallery but seem too embarrassing to ask. Questions such as: What is 'good' or 'bad' art - and does it even matter? Is there any way to test if something is art, other than a large group of people standing around looking at it? Is art still capable of shocking us or have we seen it all before? Can you be a 'lovable character' and a serious artist - what is a serious artist anyway? And what happens if you place a piece of art in a rubbish dump?

Understanding Central Europe

In 2012, the exceedingly globalized art world witnessed the emergence of a new term: International Art English. Labeled by David Levine and Alix Rule, the concept describes the language used by professionals working in the arts today, ...

Understanding Central Europe

“Central Europe” is a vague and ambiguous term, more to do with outlook and a state of mind than with a firmly defined geographical region. In the immediate aftermath of the collapse of the Iron Curtain, Central Europeans considered themselves to be culturally part of the West, which had been politically handicapped by the Eastern Soviet bloc. More recently, and with European Union membership, Central Europeans are increasingly thinking of themselves as politically part of the West, but culturally part of the East. This book, with contributions from a large number of scholars from the region, explores the concept of “Central Europe” and a number of other political concepts from an openly Central European perspective. It considers a wide range of issues including politics, nationalism, democracy, and the impact of culture, art and history. Overall, the book casts a great deal of light on the complex nature of “Central Europe”.

Mass Effect

CHRONICLE OF A TRAVELING THEORY Alexander Provan International Art English is now an ineluctable , flagrant feature of the art - writing landscape . Prior to Triple Canopy's publication of Alix Rule and David Levine's essay by that name ...

Mass Effect

Essays, discussions, and image portfolios map the evolution of art forms engaged with the Internet. Since the turn of the millennium, the Internet has evolved from what was merely a new medium to a true mass medium—with a deeper and wider cultural reach, greater opportunities for distribution and collaboration, and more complex corporate and political realities. Mapping a loosely chronological series of formative arguments, developments, and happenings, Mass Effect provides an essential guide to understanding the dynamic and ongoing relationship between art and new technologies. Mass Effect brings together nearly forty contributions, including newly commissioned essays and reprints, image portfolios, and transcribed discussion panels and lectures that offer insights and reflections from a wide range of artists, curators, art historians, and bloggers. Among the topics examined are the use of commercial platforms for art practice, what art means in an age of increasing surveillance, and questions surrounding such recent concepts as “postinternet.” Other contributions analyze and document particular works by the artists of And/Or Gallery, Cory Arcangel, DIS, Cao Fei, the Radical Software Group, and others. Mass Effect relaunches a publication series initiated by the MIT Press and the New Museum in 1984, which produced six defining volumes for the field of contemporary art. These new volumes will build on this historic partnership and reinvigorate the conversation around contemporary culture once again. Copublished with the New Museum of Contemporary Art, New York Important Notice: The digital edition of this book is missing some of the images found in the physical edition. Contributors Cory Arcangel, Karen Archey, Michael Bell-Smith, Claire Bishop, Dora Budor, Johanna Burton, Paul Chan, Ian Cheng, Michael Connor, Lauren Cornell, Petra Cortright, Jesse Darling, Anne de Vries, DIS, Aleksandra Domanović, Harm van den Dorpel, Dragan Espenschied, Rózsa Zita Farkas, Azin Feizabadi, Alexander R. Galloway, Boris Groys, Ed Halter, Alice Ming Wai Jim, Jogging, Caitlin Jones, David Joselit, Dina Kafafi, John Kelsey, Alex Kitnick, Tina Kukielski, Oliver Laric, Mark Leckey, David Levine, Olia Lialina, Guthrie Lonergan, Jordan Lord, Jens Maier-Rothe, Shawn Maximo, Jennifer McCoy, Kevin McCoy, Gene McHugh, Tom Moody, Ceci Moss, Katja Novitskova, Marisa Olson, Trevor Paglen, Seth Price, Alexander Provan, Morgan Quaintance, Domenico Quaranta, Raqs Media Collective, Alix Rule, Timur Si-Qin, Josephine Berry Slater, Paul Slocum, Rebecca Solnit, Wolfgang Staehle, Hito Steyerl, Martine Syms, Ben Vickers, Michael Wang, Tim Whidden, Anicka Yi, and Damon Zucconi

Art and Collecting Art English Edition

and international levels, will enable the collector to write with great ease, fluency and lightheartedness. The formation of ideas will occur through direct relations with artists or contact with artworks, rather than through academic ...

Art and Collecting Art  English Edition

Oei Hong Djien, Indonesia's distinguished art collector hailling from Magelang, Central Java, is also a writer. From 1990 to the present day, which spans a period of about 20 years, he has written numerous pieces on art. Most are introductions to exhibition catalogues; some are texts for speeches, lectures and discussions; others are articles that have appeared in the catalogues of auction house, magazines and books.

The Language of Museum Communication

They christened it “International Art English”, or IAE, and concluded that its purest form was the gallery press release, which—in today's increasingly globalised, Internet-widened art world— has a greater audience than ever.

The Language of Museum Communication

This volume explores the evolution of the language of museum communication from 1950 to the present day, focusing on its most salient tool, the press release. The analysis is based on a corpus of press releases issued by eight high-profile British and American museums, and has been carried out adopting corpus linguistics and genre analysis methodologies. After identifying the typical features of the museum press release, new media more recently adopted by museums, such as web presentations, blogs, e-news, and social media, are taken into consideration, exploring questions such as how has the language of museum communication changed in order to face the challenge posed by new technologies? Are museum press releases threatened by new approaches used in contemporary public relations? Are the typical press release features still detectable in new genres? Drawing on insights from linguistics, discourse analysis, and museum communication this book will be of great value to researchers and practitioners of applied linguistics, sociolinguistics, and museum communication scholars.

Death of the Artist

Art World Dissidents and Their Alternative Identities Nicola McCartney ... This often complex and highfalutin language has recently been dubbed International Art English, or IAE, and has spurred its own criticism.8 Art & Language ...

Death of the Artist

There exists a series of contemporary artists who continually defy the traditional role of the artist/author, including Art & Language, Guerrilla Girls, Bob and Roberta Smith, Marvin Gaye Chetwynd and Lucky PDF. In Death of the Artist, Nicola McCartney explores their work and uses previously unpublished interviews to provoke a vital and nuanced discussion about contemporary artistic authorship. How do emerging artists navigate intellectual property or work collectively and share the recognition? How might a pseudonym aid 'artivism'? Most strikingly, she demonstrates how an alternative identity can challenge the art market and is symptomatic of greater cultural and political rebellion. As such, this book exposes the art world's financially incentivised infrastructures, but also examines how they might be reshaped from within. In an age of cuts to arts funding and forced self-promotion, this offers an important analysis of the pressing need for the artistic community to construct new ways to reinvent itself and incite fresh responses to its work.

Spinglish

Johnson Controls, Inc., describes itself as a “global leader in interior experience.” Former Rutgers English professor and “plain language” guru William D. Lutz translates this as “They sell a lot of thermostats.”76 International Art ...

Spinglish

Spinglish—the devious dialect of English used by professional spin doctors—is all around us. And the fact is, until you’ve mastered it, politicians and corporations (not to mention your colleagues and friends) will continue putting things over on you, and generally getting the better of you, every minute of every day—without your even knowing it. However, once you perfect the art of terminological inexactitude, you’ll be the one manipulating and one-upping everyone else! And here’s the beauty part: Henry Beard and Christopher Cerf, authors of the New York Times semi-bestseller The Official Politically Correct Dictionary and Handbook, have compiled this handy yet astonishingly comprehensive lexicon and translation guide—a fictionary, if you will—to help you do just that. If you want to succeed in business (or politics, sports, the arts, or life in general) without really lying, this is the book for you! (Your results may vary.) Spinglish includes these nifty bits of spurious verbiage and over a thousand more: aesthetic procedure – face-lift dairy nutrients – cow manure enhanced interrogation techniques – torture “For your convenience.” – “For our convenience.” hands-on mentoring – sexual relations with a junior employee incomplete success – failure rightsizing – firing people zero-tasking – doing nothing With each and every entry sourced from some of the greatest real-life language benders in the world today, you’re virtually guaranteed to have the perfectly chosen tried-and-untrue term right at the tip of your forked tongue. Wish you could nimbly sidestep a question without batting an eye? Not sure how to apologize while also . . . not apologizing? Spinglish has you covered. Simply consult this convenient, shoot-from-the-lip glossary, and before you know it, you’ll be telling it like it isn’t, it wasn’t, and it couldn’t ever have been.

The Artist and Academia

Snapshot two In the first of his Reith Lectures on BBC radio, a couple of years ago, the artist, Grayson Perry, observed that “international art English rebukes ordinary English for its lack of nouns” – so, visual becomes visuality, ...

The Artist and Academia

The Artist and Academia explores the relationship between artistic and academic ways of knowing. Historically, these have often been presented as opposites; the former characterized as passionate and intuitive and the latter portrayed as systematic and rigorous. Recent scholarship presents a more complex picture. Artistic knowledge demands high levels of skill and rigor, while academic research requires creativity and innovative thinking. This edited collection brings together leading artists and scholars (as well as artist-scholars) to offer a variety of philosophical, educational, experiential, reflexive and imaginative perspectives on the artist and academia. The contributions include in-depth, scholarly discussions on the nature of knowledge and creativity, as well as personal artistic statements from musicians, dancers, actors and writers. Additionally, it explores both the mediational and subversive spaces created by the meeting of artistic and academic traditions. While the book addresses global themes by global writers, its core case study is an educational experiment called the Irish World Academy of Music and Dance at the University of Limerick in Ireland. Established in 1994, it set out to reconfigure the place of the artist in the context of contemporary higher education. The material is clustered into three parts. Part One and Part Two explore the artist as mediator, educator and subversive in academia. Grounded in close-to-practice research, Part Three concludes the volume with a set of case studies from the Irish World Academy. Artistic and academic knowledge come together in this unique set of pieces to explore the development of more inclusive and imaginative pedagogical values.

U 29DC aka Documento Continuo

51 Alix Rule, David Levine, “International Art English”: “IAE, like all languages, has a community of users that it both sorts and unifies. That community is the art world, by which we mean the network of people who collaborate ...

U 29DC aka Documento Continuo

U+29DC aka Documento Continuo is an artist book and a research into that contemporary zeitgeist that has been labeled “post internet”. Originally conceived as a MA thesis, Documento Continuo is a textual and visual collage strongly relying on appropriation as the only possible way to draw your own path through the information overload. Written in Italian but mostly in “International Art English”, it focuses on issues like awareness, creolization, the crisis of the European Union, dematerialization and materiality, globalization, performance, identity, FOMO, and how to be an artist in the age of “always on”. Enrico Boccioletti (born 1984 in Pesaro, Italy) is an artist and performer based in Milan. His practice develops at the threshold between digital gauziness and physical materiality. He is interested in incompleteness and circularity, duplication, strata, waste, layering, shifts in context, forgery, faux-real.

The Politics of Art

International Art English.” Triple Canopy. https://www.canopycanopycanopy.com/contents/international_art_english. Levitt, Peggy. 2015. Artifacts and Allegiances: How Museums Put the Nation and the World on Display.

The Politics of Art

Over the last three decades, a new generation of conceptual artists has come to the fore in the Arab Middle East. As wars, peace treaties, sanctions, and large-scale economic developments have reshaped the region, this cohort of cultural producers has also found themselves at the center of intergenerational debates on the role of art in society. Central to these cultural debates is a steady stream of support from North American and European funding organizations—resources that only increased with the start of the Arab uprisings in the early 2010s. The Politics of Art offers an unprecedented look into the entanglement of art and international politics in Beirut, Ramallah, and Amman to understand the aesthetics of material production within liberal economies. Hanan Toukan outlines the political and social functions of transnationally connected and internationally funded arts organizations and initiatives, and reveals how the production of art within global frameworks can contribute to hegemonic structures even as it is critiquing them—or how it can be counterhegemonic even when it first appears not to be. In so doing, Toukan proposes not only a new way of reading contemporary art practices as they situate themselves globally, but also a new way of reading the domestic politics of the region from the vantage point of art.

Pedro and Ricky Come Again

You do not expect its books on art and applied art to be wrought with the brio and elegance of Susie Harries or Rosemary Hill, ... which seems to mean little more than that the poor fellow is fluent in International Art English, ...

Pedro and Ricky Come Again

This landmark publication collects three decades of writing from one of the most original, provocative and consistently entertaining voices of our time. Anyone who cares about language and culture should have this book in their life. Thirty years ago, Jonathan Meades published a volume of reportorial journalism, essays, criticism, squibs and fictions called Peter Knows What Dick Likes. The critic James Wood was moved to write: ‘When journalism is like this, journalism and literature become one.’ Pedro and Ricky Come Again is every bit as rich and catholic as its predecessor. It is bigger, darker, funnier, and just as impervious to taste and manners. It bristles with wit and pin-sharp eloquence, whether Meades is contemplating northernness in a German forest or hymning the virtues of slang. From the indefensibility of nationalism and the ubiquitous abuse of the word ‘iconic’, to John Lennon’s shopping lists and the wine they call Black Tower, the work assembled here demonstrates Meades's unparalleled range and erudition, with pieces on cities, artists, sex, England, concrete, politics and much, much more.

The Psychology of Art

The peculiar form of English to be found in these text forms was called 'International Art English', or IAE, in a controversial and satirical essay by David Levine (who is an artist) and Alix Rule (a sociologist). IAE is, they argued, ...

The Psychology of Art

Why do we enjoy art? What inspires us to create artistic works? How can brain science help us understand our taste in art? The Psychology of Art provides an eclectic introduction to the myriad ways in which psychology can help us understand and appreciate creative activities. Exploring how we perceive everything from colour to motion, the book examines art-making as a form of human behaviour that stretches back throughout history as a constant source of inspiration, conflict and conversation. It also considers how factors such as fakery, reproduction technology and sexism influence our judgements about art. By asking what psychological science has to do with artistic appreciation, The Psychology of Art introduces the reader to new ways of thinking about how we create and consume art.

Hot Art Cold War Western and Northern European Writing on American Art 1945 1990

... local and international, generally agreed that this Rosc was a better example of the eclecticism of international art. English critic Bernard Denvir found the attempt to relate ancient Viking artefacts in the Ancient section to the ...

Hot Art  Cold War     Western and Northern European Writing on American Art 1945 1990

Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. With the exception of those originally published in English, the majority of these texts are translated into English for the first time from eight languages, and are introduced by scholarly essays. They offer a representative selection of the diverse responses to American art in Great Britain, Ireland, France, Belgium, the Netherlands, West Germany (FRG), Austria, Switzerland, Denmark, Norway, Sweden, and Finland. There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural and artistic positions that varied considerably across the European nations. This volume and its companion, Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences. Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism.

Contemporary Art and Capitalist Modernization

The “global contemporary” faces problems similar, perhaps, to those dealt with by postcolonial and subaltern studies as ... of what is often called Artspeak, or International Art English) upon the manifold of global artistic experience.

Contemporary Art and Capitalist Modernization

This book addresses the art historical category of "contemporary art" from a transregional perspective, but unlike other volumes of its kind, it focuses in on non-Western instantiations of "the contemporary." The book concerns itself with the historical conditions in which a radically new mode of artistic production, distribution, and consumption – called "contemporary art" – emerged in some countries of Eastern Europe, the post-Soviet republics of the USSR, India, Latin America, and the Middle East, following both local and broader sociopolitical processes of modernization and neoliberalization. Its main argument is that one cannot fully engage with the idea of the "global contemporary" without also paying careful attention to the particular, local, and/or national symptoms of the contemporary condition. Part I is methodological and theoretical in scope, while Part II is historical and documentary. For the latter, a number of case studies address the emergence of the category "contemporary art" in the context of Lebanon, Egypt, India, Hungary, Slovenia, Croatia, Bosnia and Herzegovina, Armenia, and Moldova. The book will be of interest to scholars working in art history, globalism, cultural studies, and postcolonial studies.

Talking Art

45 Art world professionals explain to students that “what you learn in art school is that you learn how to talk . . . as ... Alex Rule and David Levine point to the growth of “International Art English,” a contained and technical ...

Talking Art

In Talking Art, acclaimed ethnographer Gary Alan Fine gives us an eye-opening look at the contemporary university-based master’s-level art program. Through an in-depth analysis of the practice of the critique and other aspects of the curriculum, Fine reveals how MFA programs have shifted the goal of creating art away from beauty and toward theory. Contemporary visual art, Fine argues, is no longer a calling or a passion—it’s a discipline, with an academic culture that requires its practitioners to be verbally skilled in the presentation of their intentions. Talking Art offers a remarkable and disconcerting view into the crucial role that universities play in creating that culture.

Design and Agency

Throughout this chapter I have chosen to use the generic term “arts” because, while lacking accuracy, is more inclusive. ... Perry refers to Alix Rule and David Levine's (2012) mapping of “international art English,”4 diagnosing that it ...

Design and Agency

Design and Agency brings together leading international design scholars and practitioners to address the concept of agency in relation to objects, organisations and people. The authors set out to expand the scope of design history and practice, avoiding the heroic narratives of a typical modernist approach. They consider both how the agents of design construct and express their identities and subjectivities through practice, while also investigating the distinctive contribution of design in the construction of individual identity and subjectivity. Individual chapters explore notions of agency in a range of design disciplines and historical periods, including the agency of women in effecting changes to the design of offices and working practices; the role of Jeffrey Lindsay and Buckminster Fuller in developing the design of a geodesic dome; Le Corbusier's 'Casa Curutchet'; a re-consideration of the gendered historiography of the 'Jugendstil' movement, and Bruce Mau's design exhibitions. Taken together, the essays in Design and Agency provide a much-needed response to the traditional texts which dominate design history. With a broad chronological span from 1900 to the present, and an equally broad understanding of the term 'design', it expands how we view the discipline, and shows how design itself can be an agent for social, cultural and economic change.