Time, Duration and Change in Contemporary Art presents a major study of time as a key aesthetic dimension of recent art practices. This book explores different aspects of time across a broad range of artistic media and draws on recent movements in philosophy, science, and technology to show how artists generate temporal experiences that resist the standardized time of modernity: Olafur Eliasson's melting icebergs produce fragile temporal ecologies; Marina Abramovic's performances test the durations of the human body; Christian Marclay's The Clock conflates past and present chronologies. This book examines alternative frameworks of time, duration, and change in prominent philosophical, scientific, and technological traditions, including physics, psychology, phenomenology, neuroscience, media theory, and selected environmental sciences. It suggests that art makes a crucial contribution to these discourses not by "visualizing" time, but by entangling viewers in different sensory, material, and imaginary temporalities.

Time, Duration and Change in Contemporary Art presents a major study of time as a key aesthetic dimension of recent art practices. This book explores different aspects of time across a broad range of artistic media and draws on recent movements in philosophy, science, and technology to show how artists generate temporal experiences that resist the standardized time of modernity: Olafur Eliasson?s melting icebergs produce fragile temporal ecologies; Marina Abramovi??s performances test the durations of the human body; Christian Marclay?s The Clock conflates past and present chronologies. This book examines alternative frameworks of time, duration, and change in prominent philosophical, scientific, and technological traditions, including physics, psychology, phenomenology, neuroscience, media theory, and selected environmental sciences. It suggests that art makes a crucial contribution to these discourses not by?visualizing? time, but by entangling viewers in different sensory, material, and imaginary temporalities.

United by their belief in the importance of the human image in art, they distanced themselves both from the social realism of their predecessors and from the pure abstraction of many of their contemporaries. Shifra Goldman begins with a brief examination of the era and issues of muralism and the art of Rufino Tamayo. She then focuses on the confrontation between socially conscious art and "pure painting" that began in the late 1950s and resulted in the formation of Nueva Presencia.

In recent years, many prominent and successful artists have claimed that their primary concern is not the artwork they produce but the artistic process itself. In this volume, Kim Grant analyzes this idea and traces its historical roots, showing how changing concepts of artistic process have played a dominant role in the development of modern and contemporary art. This astute account of the ways in which process has been understood and addressed examines canonical artists such as Monet, Cézanne, Matisse, and De Kooning, as well as philosophers and art theorists such as Henri Focillon, R. G. Collingwood, and John Dewey. Placing “process art” within a larger historical context, Grant looks at the changing relations of the artist’s labor to traditional craftsmanship and industrial production, the status of art as a commodity, the increasing importance of the body and materiality in art making, and the nature and significance of the artist’s role in modern society. In doing so, she shows how process is an intrinsic part of aesthetic theory that connects to important contemporary debates about work, craft, and labor. Comprehensive and insightful, this synthetic study of process in modern and contemporary art reveals how artists’ explicit engagement with the concept fits into a broader narrative of the significance of art in the industrial and postindustrial world.

The classic and provocative account of how art changed irrevocably with pop art and why traditional aesthetics can’t make sense of contemporary art A classic of art criticism and philosophy, After the End of Art continues to generate heated debate for its radical and famous assertion that art ended in the 1960s. Arthur Danto, a philosopher who was also one of the leading art critics of his time, argues that traditional notions of aesthetics no longer apply to contemporary art and that we need a philosophy of art criticism that can deal with perhaps the most perplexing feature of current art: that everything is possible. An insightful and entertaining exploration of art’s most important aesthetic and philosophical issues conducted by an acute observer of contemporary art, After the End of Art argues that, with the eclipse of abstract expressionism, art deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, Danto makes the case for a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol’s Brillo Box and the product found in the grocery store. After the End of Art addresses art history, pop art, “people’s art,” the future role of museums, and the critical contributions of Clement Greenberg, whose aesthetics-based criticism helped a previous generation make sense of modernism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist’s philosophy), Danto shows that it wasn’t until the invention of pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways in which art was produced, hinged on a narrative.

This practical resource will help educators teach about current art and integrate its philosophy and methods into the K–12 classroom. The authors provide a framework that looks at art through the lens of nine themes—everyday life, work, power, earth, space and place, self and others, change and time, inheritance, and visual culture—highlighting the conceptual aspects of art and connecting disparate forms of expression. They also provide guidelines and examples for how to use contemporary art to change the dynamics of a classroom, apply inventive non-linear lenses to topics, broaden and update the art “canon,” and spur creative and critical thinking. Young people will find the selected artwork accessible and relevant to their lives, diverse and expansive, probing, serious and funny. Challenging conventional notions of what should be considered art and how it should be created, this book offers a sampling of what is out there to inspire educators and students to explore the limitless world of new art. Book Features: Indicators and lenses that make contemporary art more familiar, accessible, understandable, and useable for teachers. Easy-to-reference descriptions and images from a variety of contemporary artists.Strategies for integrating art thinking across the curriculum.Suggestions to help teachers find contemporary art to fit their curriculum and school settings.Concrete examples of art-based projects from both art and general classrooms.Guidance for developing curriculum, including how to create guiding questions to spur student thinking.

Music and dance can change our sense of time. Both rely on synchronizing our attention and actions with sounds and with other people, both involve memory and expectation, and both can give rise to experiences of flow and pleasure. Performing Time explores our experience of time in dance and music, from the perspectives of performers and audiences, and informed by the most recent research in dance science, musicology, neuroscience, and psychology. It includes discussions of tempo and pacing, coordination and synchrony, the performer's experience of time, audiences' temporal expectations, the effect of extreme slowness, and our individual versus collective senses of time. At its core, the book addresses how time and temporality in music and dance relate to current psychological and neuroscientific theories as well as to the aesthetic aims of composers, choreographers and performers. Bringing together new research on rhythm, time and temporality in both music and dance in one volume, the book contains overview chapters on the state of the art from leading researchers on topics ranging from the psychology, neuroscience, and philosophy of musical time to embodied timing in dance. In addition, numerous case studies regarding our temporal experience of music and dance are provided in shorter focus chapters, with their implications for further scientific study and artistic enquiry. Performing Time is an invaluable and comprehensive resource for students, researchers, educators, and artists alike, and for any reader interested in how the performing arts construct and play with time in our minds and bodies. Some chapters in this title are open access and available under the terms of a [CC BY-NC-ND 4.0 International] licence.