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Eine Subkultur zwischen Kunst und Kommerz (2. Auflage)
Series: Urban Studies
The Convergence of Art and Marketing in Contemporary Culture
Art Unlimited?
OPEN ACCESS
Dynamics and Paradoxes of a Globalizing Art World
A Freak Theory

An Empirical Analysis of Art Galleries The Impact of Entrepreneurial Orientation on Performance Outcomes in Cultural Industry ESRA MEMILIA, HANQING FANGB, GERD-MICHAEL HELLSTERNC, JOANNA OZGAD, DILEK ZAMANTILI NAYIRE* ABryan School of Business, University of North Carolina, Greensboro; BMissouri Univer- sity of Science and Technology; CInstitute of Business Administration, Kassel University; DFachbereich Wirtschaft, Hochschule Fulda; EDepartment of Business Administration in German Language, Marmara University, Istanbul Abstract Despite the extant research

Art Power Boris Groys Introduction The first thing one learns by reading the majority of texts on modern and contemporary art is this: both modern and — even to a greater extent — contemporary art are radically pluralistic. This fact seems to preclude once and for all the possibility of writing on modern art as a specific phenomenon, as a result of the collective work of several gene- rations of artists, curators, and theoreticians — for example, in the same manner in which one would write on Renaissance or Baroque art. At the same time it also precludes

87Temporality, Oríkì and Nigeria’s Contemporary Art Nkiru Nzegwu Temporality, Oríkì and Nigeria’s Contemporary Art Disciplinary boundaries in Western academy routinely disallow counter evidence and discordant facts that challenge Western orthodoxy and confound its ontology. Written off as unimportant anomalies, these dismissed data, usually from Africa, in particular, or the Third World, in general, pile up to expose the weaknesses of theo- ries that are mired in suppositions of hegemony and false homogenization. In the short run, the dismissal works to

gefüllten und zum Wegtreiben bestimmten silbernen Kissen »Silver Clouds« sein. Allerdings waren die »Silver Clouds« anhängli- cher als gedacht – was dann nur bedeuten konnte, dass es wohl noch nicht vor- bei ist: »I had actually announced I was retiring from art. But then the Silver Space Pillows didn’t float away and my career didn’t float away, either« (Warhol [1975] 2007: 150). Außer der Installation »Silver Clouds« wird noch ein Siebdruck auf Papier präsentiert, der die Besucher irritierte, zugleich aber, so meine These, für das, was Pop im Sinne der Ästhetik

in POP

gefüllten und zum Wegtreiben bestimmten silbernen Kissen »Silver Clouds« sein. Allerdings waren die »Silver Clouds« anhängli- cher als gedacht – was dann nur bedeuten konnte, dass es wohl noch nicht vor- bei ist: »I had actually announced I was retiring from art. But then the Silver Space Pillows didn’t float away and my career didn’t float away, either« (Warhol [1975] 2007: 150). Außer der Installation »Silver Clouds« wird noch ein Siebdruck auf Papier präsentiert, der die Besucher irritierte, zugleich aber, so meine These, für das, was Pop im Sinne der Ästhetik

in POP

17The Global Promise of Contemporary Art Gabriele Genge The Global Promise of Contemporary Art The concept of contemporary art has become a global-political challenge and provo- cation in recent years. Above all in art theory and philosophy, those conceptions of the contemporary, presence, and presentness, as well as their varied connec- tions to questions of contemporaneity, are under discussion which put forward counter models to the economically- and politically-informed globalization dis- course.1 Whereas the globalization in www appears to affirm a