Roman Ondak Loop
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Humor in Global Contemporary Art
Author: Mette Gieskes
language: en
Publisher: Bloomsbury Publishing
Release Date: 2024-05-30
Pursuing a new and timely line of research in world art studies, Humor in Global Contemporary Art is the first edited collection to examine the role of culturally specific humor in contemporary art from a global perspective. Since the 1960s, increasing numbers of artists from around the world have applied humor as a tool for observation, critique, transformation, and debate. Exploring how humorous art produced over the past six decades is anchored in local sociopolitical contexts and translated or misconstrued when exhibited abroad, this book opens new conversations regarding the functioning of humor and the ways in which art travels across the globe. With contributions by an impressive array of internationally based scholars covering six major continental regions, the book is organized into four distinct geographical sections: Africa and the Middle East, Asia and Oceania, South and North America, and Europe. This structure highlights the cultural specificity of each region while the book as a whole offers a critical perspective on the postcolonial, globalized art network. Reflecting on present-day processes of globalization and biennialization, which confront viewers with humorous art from a variety of cultures and countries, this book will provide readers with a culturally sensitive understanding of how humor has become vital to many contemporary artists working in an unprecedentedly interconnected world.
Performance
This book focuses on performance and performance-based artworks as seen through the lens of conservation, which has long been overlooked in the larger theoretical debates about whether and how performance remains. Unraveling the complexities involved in the conservation of performance, Performance: The Ethics and the Politics of Conservation and Care (vol. 1) brings this new understanding to bear in examining performance as an object of study, experience, acquisition, and care. In so doing, it presents both theoretical frameworks and functional paradigms for thinking about—and enacting—the conservation of performance. Further, while the conservation of performance is undertheorized, performance is nevertheless increasingly entering the art market and the museum, meaning that there is an urgent need for discourse on how to care for these works long-term. In recent years, a few pioneering conservators, curators, and scholars have begun to create frameworks for the longterm care of performance. This volume presents, explicates, and contextualizes their work so that a larger discourse can commence. It will thus serve the needs of conservation students and professors, for whom literature on this subject is sorely needed. This interdisciplinary book thus implements a novel rethinking of performance that will challenge and revitalize its conception in many fields, such as art history, theater, performance studies, heritage studies, and anthropology.