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Zusatztext As the director of a museum dedicated fully to contemporary art, I am happy to welcome Martha Buskirk's book as a significant addition to the field of museum studies. Buskirk is a perpetually engaging writer, and her pages overflow with the most provocative, humorous and informative case studies of the often confounding installations and exhibitions that occur in current art practice. She examines the layers of causality in which the creation of institutions dedicated to exhibiting contemporary art have called into being a type of art that would be unthinkable prior to their existence. Buskirk works through individual artists' motivations with clear descriptions of the art works, and while she listens intently to the makers' stated intentions she nonetheless enjoys critically examining the works in the context of similar artistic provocations and pushing on their often overlooked conceptual gaps. This is a great primer for both neophytes and arts professionals trying to clearly see the place of nontraditional artworks in today's museum landscape. --Bill Arning, Director, Contemporary Arts Museum Houston Informationen zum Autor Martha Buskirk is professor of art history and criticism at Montserrat College of Art, MA. She is author of The Contingent Object of Contemporary Art (MIT Press, 2003) and co-editor of The Duchamp Effect and The Destruction of Tilted Arc: Documents . Klappentext Intertwines a dual emphasis on evolving institutional priorities and major shifts in artistic production. Vorwort Intertwines a dual emphasis on evolving institutional priorities and major shifts in artistic production. Zusammenfassung In the face of unparalleled growth and a truly global audience, the popularity of contemporary art has clearly become a double-edged affair. Today, an unprecedented number of museums, galleries, biennial-style exhibitions, and art fairs display new work in all its variety, while art schools continue to inject fresh talent onto the scene at an accelerated rate. In the process, however, contemporary art has become deeply embedded not only in an expanding art industry, but also the larger cultures of fashion and entertainment. Buskirk argues that understanding the dynamics of art itself cannot be separated from the business of presenting art to the public. As strategies of institutional critique have given way to various forms of collaboration or accommodation, both art and museum conventions have been profoundly altered by their ongoing relationship. The escalating market for contemporary art is another driving force. Even as art remains an idealized activity, it is also understood as a profession, and in increasingly obvious ways a business, particularly as practiced by star artists who preside over branded art product lines. Inhaltsverzeichnis Acknowledgments Introduction Chapter 1: Now and Then Chapter 2: The Collection Chapter 3: Kaprow's Vector Chapter 4: When Is the Work of Art? Chapter 5: Rebranding the Readymade Chapter 6: Mobile Art Services Index...
