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Industry and intelligence : contemporary art since 1820 / Liam Gillick.

By: Material type: TextTextSeries: Bampton lectures in AmericaPublication details: New York : Columbia University Press, [2016]Description: xv, 140 pages, 50 unnumbered pages of plates ; 21 cmISBN:
  • 9780231170208
  • 0231170203
Uniform titles:
  • Works. Selections
Subject(s): DDC classification:
  • 709.04 GIL
Online resources:
Contents:
Introduction: creative disruption in the age of soft revolutions -- Contemporary art does not account for that which is taking place -- Projection and parallelism -- art as a pile: split and fragmented simultaneously -- 1820: Erasmus and upheaval -- ASAP futures, not infinite future -- 1948: B. F. Skinner and counter-revolutio -- Abstract -- 1963: Herman Kahn and projection -- The complete curator -- Maybe it would be better if we worked in groups of three? -- The return of the border -- 1974: Volvo and the mise-en-scène -- The experimental factory -- Nostalgia for the group -- Why work?.
Holdings
Item type Current library Call number Copy number Status Date due Barcode
Standard Loan LSAD Library Main Collection 709.04 GIL (Browse shelf(Opens below)) 1 Available 39002100622829

Enhanced descriptions from Syndetics:

The history of modern art is often told through aesthetic breakthroughs that sync well with cultural and political change. From Courbet to Picasso, from Malevich to Warhol, it is accepted that art tracks the disruptions of industrialization, fascism, revolution, and war. Yet filtering the history of modern art only through catastrophic events cannot account for the subtle developments that lead to the profound confusion at the heart of contemporary art.

In Industry and Intelligence , the artist Liam Gillick writes a nuanced genealogy to help us appreciate contemporary art's engagement with history even when it seems apathetic or blind to current events. Taking a broad view of artistic creation from 1820 to today, Gillick follows the response of artists to incremental developments in science, politics, and technology. The great innovations and dislocations of the nineteenth and twentieth centuries have their place in this timeline, but their traces are alternately amplified and diminished as Gillick moves through artistic reactions to liberalism, mass manufacturing, psychology, nuclear physics, automobiles, and a host of other advances. He intimately ties the origins of contemporary art to the social and technological adjustments of modern life, which artists struggled to incorporate truthfully into their works.

Includes bibliographical references (pages 129-131) and index.

Introduction: creative disruption in the age of soft revolutions -- Contemporary art does not account for that which is taking place -- Projection and parallelism -- art as a pile: split and fragmented simultaneously -- 1820: Erasmus and upheaval -- ASAP futures, not infinite future -- 1948: B. F. Skinner and counter-revolutio -- Abstract -- 1963: Herman Kahn and projection -- The complete curator -- Maybe it would be better if we worked in groups of three? -- The return of the border -- 1974: Volvo and the mise-en-scène -- The experimental factory -- Nostalgia for the group -- Why work?.

Table of contents provided by Syndetics

  • Acknowledgments (p. vii)
  • Introduction: Creative Disruption in the Age of Soft Revolutions (p. ix)
  • 1 Contemporary Art Does Not Account for That Which Is Taking Place (p. 1)
  • 2 Projection and Parallelism (p. 13)
  • 3 Art as a Pile: Split and Fragmented Simultaneously (p. 17)
  • 4 1820: Erasmus and Upheaval (p. 21)
  • 5 ASAP Futures, Not Infinite Future (p. 35)
  • 6 194S: B. F. Skinner and Counter-Revolution (p. 37)
  • 7 Abstract (p. 51)
  • 8 1963: Herman Kahn and Projection (p. 57)
  • 9 The Complete Curator (p. 71)
  • 10 Maybe It Would Be Better If We Worked in Groups of Three? (p. 79)
  • 11 The Return of the Border (p. 87)
  • 12 1974: Volvo and the Mise-en-Scène (p. 91)
  • 13 The Experimental Factory (p. 105)
  • 14 Nostalgia for the Group (p. 111)
  • 15 Why Work? (p. 117)
  • Notes (p. 129)
  • Index (p. 133)

Author notes provided by Syndetics

Liam Gillick is an artist based in New York. His work has been featured in numerous exhibitions, including documenta and the Venice and Berlin Biennales, and he has been nominated for a Turner Prize and Vincent Award. He serves on the graduate committee of the Center for Curatorial Studies and Art in Contemporary Culture at Bard College and was a mentor at the Columbia University School of the Arts from 1997 to 2013.

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