Whether exploring the intimate recollections which make up the artist's own life history or questioning the way the gallery and museum present public memory, contemporary art, it would seem, is haunted by the past. "Contemporary Art and Memory" is the first accessible survey book to explore the subject of memory as it appears in its many guises in contemporary art. Looking at both personal and public memory, Gibbons explores art as autobiography, the memory as trace, the role of the archive, revisionist memory and postmemory, as well as the absence of memory in oblivion. Grounding her discussion in historical precedents, Gibbons explores the work of a wide range of international artists including Yinka Shonibare MBE, Doris Salcedo, Keith Piper, Jeremy Deller, Judy Chicago, Louise Bourgeois, Tracey Emin, Felix Gonzalez-Torres, Christian Boltanski, Janet Cardiff, Bill Fontana, Pierre Huyghe, Susan Hiller, Japanese photographer Miyako Ishiuchi and new media artist George Legrady."Contemporary Art and Memory" will be indispensable to all those concerned with the ways in which artists represent and remember the past.?????

This anthology investigates the turn in art not only towards archives and histories, the relics of modernities past, but toward the phenomena, in themselves, of "haunting" and the activation of memory. It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of "active" forgetting. Its discussions encompass artworks from the late 1940s onward, ranging from reperformances such as Marina Abramovi's Seven Easy Pieces (embodied resurrections of decades-removed performance pieces by her contemporaries) to the inanimate trace of "memory" Robert Morris assigns to his free-form felt pieces, which "forget" in their present configurations their previous slides and falls. Contextualizing memory's role in visual theory and aesthetic politics--from Marcel Proust's optics to Bernard Stiegler's analysis of memory's "industrialization"--this collection also surveys the diversity of situations and registers in which contemporary artists explore memory. Art that engages with memory embodied in material and spatial conditions is examined beside works that reflect upon memory's effects through time, and yet others that enlist the agency of remembrance or forgetting to work through aspects of the numerous pasts by which the present is always haunted.

In an ancient account of painting’s origins, a woman traces the shadow of her departing lover on the wall in an act that anticipates future grief and commemoration. Lisa Saltzman shows here that nearly two thousand years after this story was first told, contemporary artists are returning to similar strategies of remembrance, ranging from vaudevillian silhouettes and sepulchral casts to incinerated architectures and ghostly processions. Exploring these artists’ work, Saltzman demonstrates that their methods have now eclipsed painting and traditional sculpture as preeminent forms of visual representation. She pays particular attention to the groundbreaking art of Krzysztof Wodiczko, who is known for his projections of historical subjects; Kara Walker, who creates powerful silhouetted images of racial violence in American history; and Rachel Whiteread, whose work centers on making casts of empty interior spaces. Each of the artists Saltzman discusses is struggling with the roles that history and memory have come to play in an age when any historical statement is subject to question and doubt. In identifying this new and powerful movement, she provides a framework for understanding the art of our time.

How should Germany commemorate the mass murder of Jews once committed in its name? In 1997, James E. Young was invited to join a German commission appointed to find an appropriate design for a national memorial in Berlin to the European Jews killed in World War II. As the only foreigner and only Jew on the panel, Young gained a unique perspective on Germany's fraught efforts to memorialize the Holocaust. In this book, he tells for the first time the inside story of Germany's national Holocaust memorial and his own role in it. In exploring Germany's memorial crisis, Young also asks the more general question of how a generation of contemporary artists can remember an event like the Holocaust, which it never knew directly. Young examines the works of a number of vanguard artists in America and Europe--including Art Spiegelman, Shimon Attie, David Levinthal, and Rachel Whiteread--all born after the Holocaust but indelibly shaped by its memory as passed down through memoirs, film, photographs, and museums. In the context of the moral and aesthetic questions raised by these avant-garde projects, Young offers fascinating insights into the controversy surrounding Berlin's newly opened Jewish museum, designed by Daniel Libeskind, as well as Germany's soon-to-be-built national Holocaust memorial, designed by Peter Eisenman. Illustrated with striking images in color and black-and-white, At Memory's Edge is the first book in any language to chronicle these projects and to show how we remember the Holocaust in the after-images of its history.

While earlier theorists held up "experience" as the defining character of installation art, few people have had the opportunity to walk through celebrated installation pieces from the past. Instead, installation art of the past is known through archival photographs that limit, define, and frame the experience of the viewer. Monica E. McTighe argues that the rise of photographic-based theories of perception and experience, coupled with the inherent closeness of installation art to the field of photography, had a profound impact on the very nature of installation art, leading to a flood of photography- and film-based installations. With its close readings of specific works, Framed Spaces will appeal to art historians and theorists across a broad spectrum of the visual arts.

This book analyzes contemporary visual art produced in the context of conflict and trauma from a range of countries, including Colombia, Northern Ireland, South Africa, and Australia. It focuses on what makes visual language unique, arguing that the "affective" quality of art contributes to a new understanding of the experience of trauma and loss. By extending the concept of empathy, it also demonstrates how we might, through art, make connections with people in different parts of the world whose experiences differ from our own. The book makes a distinct contribution to trauma studies, which has tended to concentrate on literary forms of expression. It also offers a sophisticated theoretical analysis of the operations of art, drawing on philosophers such as Gilles Deleuze, but setting this within a postcolonial framework. Empathic Vision will appeal to anyone interested in the role of culture in post-September 11 global politics.

“A pathbreaking meditation . . . shifts the discussion . . . from . . . notions of guilt and innocence to the complexities of responsibility and accountability.” —Amir Eshel, Stanford University When it comes to historical violence and contemporary inequality, none of us are completely innocent. We may not be direct agents of harm, but we may still contribute to, inhabit, or benefit from regimes of domination that we neither set up nor control. Arguing that the familiar categories of victim, perpetrator, and bystander do not adequately account for our connection to injustices past and present, Michael Rothberg offers a new theory of political responsibility through the figure of the implicated subject. The Implicated Subject builds on the comparative, transnational framework of Rothberg's influential work on memory to engage in reflection and analysis of cultural texts, archives, and activist movements from such contested zones as transitional South Africa, contemporary Israel/Palestine, post-Holocaust Europe, and a transatlantic realm marked by the afterlives of slavery. An array of globally prominent artists, writers, and thinkers—from William Kentridge, Hito Steyerl, and Jamaica Kincaid, to Hannah Arendt, Primo Levi, Judith Butler, and the Combahee River Collective—speak show how confronting our own implication in difficult histories can lead to new forms of internationalism and long-distance solidarity. “A significant work by a major scholar . . . .While drawing on a global range of histories and texts, the book never loses focus on the contemporary moment.” —Robert Eaglestone, Royal Holloway, University of London “Offer[s] a fresh vocabulary to confront our personal and collective responsibility in the face of massive political violence, past and present.” —Marianne Hirsch, Columbia University