Efnisyfirlit

• Cover Page
• Title page
• Copyright page
• Dedication
• Preface
  • Structure of the Book
  • What’s New in the Fifth Edition
  • The Audience for the Book
  • Alternate Paths Through the Book
• Acknowledgments
• Introduction
  • Themes of Contemporary Art: What, Why, and How
  • A Brief Orientation
• 1 The World Changes, the Art World Expands
  • Overview of History and Art History|1980–2020
  • Traditions Survive, New Trends Arrive
    • Painting Didn’t Die
    • Photograph yand video became players
    • Sculpture as an Art Form
    • The Ready-Made Became the Remix
    • Sound Infiltrates the Visual Arts
  • Globalization
  • Theory Flexes Its Muscles
    • What Is Theory and What Is Its Function?
    • Postmodernism Became a Catch-All Term
    • Art Is Understood as a Kind of Language
    • Feminism and Postcolonialism Offer Bolder, Broader Perspectives
    • The Theorization of Information
  • Impact of the Digital
    • Early Adoption of Digital Technology in Art
    • What Is Post-Internet or Post-Digital Art?
    • The New Aesthetic
  • Social Experience as Art
  • Art Meets Contemporary Culture
  • Artists Respond to the Anthropocene
    • What Is the Anthropocene?
• 2 Identity
  • A Focus on Identity in Art History
  • Identity Is Collective and Relational
  • Identity Politics
  • Otherness and Representation
  • Essentialism Versus Diversity
  • Authenticity and Hybridity
  • Identity Is Constructed
    • Deconstructing Difference
    • The Fluidity of Identity
    • Synthetic Identities
    • Fictional Identities
  • Are We Post-Identity?
• 3 The Body
  • Past Figurative Art
  • Performing Bodies
  • The Body Beautiful
  • Grotesque Bodies
  • The Body Is a Battleground
  • Sexual Bodies
  • Gazing at Bodies
  • Mortal Bodies
  • Classifying Humans in the Genomic Age
  • Posthuman Bodies
• 4 Time
  • Changing Views of Time
  • Time and Art History
  • Time as a Medium
    • Live Art
    • Film and Video
    • Process Art
  • Exploring the Structure of Time
    • Counting and Measuring Time
    • Reordering Time
• 5 Memory
  • Memory and Art History
  • The Texture of Memory
    • Memory Is Emotional
    • Memory Is Unreliable
    • Memory Is Multisensory
  • Strategies for Representing the Past
    • Displaying Evidence
    • Reenacting the Past
    • Fracturing Narratives and Reshuffling Memories
  • Storehouses of Memory
  • Revisiting the Past
    • Recovering History
    • Rethinking History
    • Reframing the Present
  • Commemorating the Past
• 6 Place
  • Places Have Meanings
  • Places Have Value
  • Looking Out for Places
  • Art History’s Influence
    • Representations of Space
    • (Most) Works of Art Exist in a Place
  • What’s Public? What’s Private?
  • Dislocation
  • Simulated Places
• 7 Language
  • Art and Words: A Quick History
  • Recent Theories of Language
  • Reasons for Using Language
  • Language Makes Meaning
  • Language Takes Form
    • Transparency and Translucency
    • Spatiality and Physicality
    • Books Made by Artists
  • Wielding the Power of Language
  • Confronting the Challenge of Translation
  • Communication in the Digital Age
    • Text and Power
    • Text as Digital Material
• 8 Science
  • What Is Science?
  • Artists as Amateur Scientists
  • Artists Adopt Scientific Tools and Materials
    • Creole Technologies
    • Bio Art
  • The Visual Culture of Science
    • Scientific Imaging and Art
    • Deconstructing the Visual Culture of Science
    • Scientific Displays and Archives
    • Science in Popular Culture
  • The Ideology of Science
    • Changing Paradigms of Science
    • Is Science Running Amok? Activist Art Responds
    • Is Nature Natural?
  • The Anthropocene: Climate Change and More
• 9 Spirituality
  • Spirituality and Religion
  • Enchantment
  • A Short History
  • Religious Iconography
  • Spiritual Forms and Materials
  • Mingling the Sacred and the Profane
  • Sacred Spaces and Rituals
  • Finding Faith and Harboring Doubt
  • Facing Death, Doom, and Destruction
  • Art and Transcendence
• Notes
  • Chapter 1
  • Chapter 2
  • Chapter 3
  • Chapter 4
  • Chapter 5
  • Chapter 6
  • Chapter 7
  • Chapter 8
  • Chapter 9
• Selected Bibliography
  • Chapter One: The World Changes, The Art World Expands
  • Profile: Hito Steyerl
  • Chapter Two: Identity
  • Profile: Shirin Neshat
  • Profile: Ryan Trecartin and Lizzie Fitch
  • Chapter Three: The Body
  • Profile: Renée Cox
  • Profile: Zhang Huan
  • Chapter Four: Time
  • Profile: Hiroshi Sugimoto
  • Profile: Ragnar Kjartansson
  • Chapter Five: Memory
  • Profile: Christian Boltanski
  • Profile: Brian Tolle
  • Chapter Six: Place
  • Profile: Turbine Hall at Tate Modern
  • Profile: Andrea Zittel
  • Chapter Seven: Language
  • Profile: Nina Katchadourian
  • Profile: Janet Cardiff and George Bures Miller
  • Chapter Eight: Science
  • Profile: Patricia Piccinini
  • Profile: Eduardo Kac
  • Chapter Nine: Spirituality
  • Profile: Bill Viola
  • Profile: José Bedia
• Credits
  • Introduction
  • Chapter 1
  • Chapter 2
  • Chapter 3
  • Chapter 4
  • Chapter 5
  • Chapter 6
  • Chapter 7
  • Chapter 8
  • Chapter 9
• Index
• List of Illustrations

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