The essay is part of the anthology Curatorial Politics Beyond the Curator: Initial Reflections (eds. Amundsen and Mørland, Hatje Cantz Verlag, 2015), which provides new perspectives on curatorial politics.
Den danske maleren Asger Jorn (1914-1973) er en av de mest markante skikkelser innen kunsthistorien i det 20. århundre. Hans produksjon var enorm: nærmere 2500 malerier, tegninger, grafiske blad etc. Dessuten var han virksom på flere andre områder av kunsten, som innen kjeramikk, veving og billedhuggerkunsten, hvor han laget skulpturer i bronse og marmor. Ved siden av denne store kunstneriske produksjon var han en stor skribent.
This essay focuses on the relationship in art between gender and power, and on the decade’s increased interest in man and male identity as subjects of study. A relatively obscure theme previously, the contention that man is in the throes of crisis has become a major topic within gender research.
This text treats «the eighties». «The eighties» do not exist yet. But with every text on «the eighties» that is brought to fruition, a bit is added to the map. Something worthwhile in itself. My ambition is not to paint the complete picture.
Introducing this study of some aspects of Richter’s work with a quotation by Richter himself is misleading when it comes to the methodology applied. Contrary to most of the innumerable interpretations of Richter’s work, this study will give no privileged position to his own pronouncements.
This essay presents the art scene in Glasgow at the end of this millennium. The young British artists in Glasgow in the 90’s are successfully attempting to define new trends in contemporary art in Scotland, Britain and internationally.
This study concerns the critical discourse and the reception of American art of the late eighties and nineties. This also entails current revisions of modern and postwar art. Its point of departure is the pronounced turn to the body in recent American art. More specifically, this is a turn to a typically fragmented, desublimated, and supposedly culturally transgressive body, a body posing fundamental questions concerning identity, sexuality and gender
The year is 1994. R.B. Kitaj had been invited by the Tate Gallery1 to mount a retrospective, no mean token of acknowledgment by any standards. The exhibition was called R.B. Kitaj: A Retrospective. The reviews in the papers following the opening confounded both the public and Kitaj himself. While few in actual number, they left a lasting impression.
Julian Opie came to prominence at a particularly diverse and buoyant moment in recent British art. He was a student in London at Goldsmiths College between 1979 and 1982, a period in which recognition was accorded to a group of British sculptors that included Tony Cragg, Richard Deacon, Bill Woodrow, Richard Wentworth and Antony Gormley.