Phaidon PressRezensionen
Autor von ARS Kunst A - Z. 500 Künstler - 500 Bilder
Rezensionen
The American Art Book von Jay Tobler
Three stars: additional star awarded for Octavio Paz's quote "I learned the precision of language from Japanese poetry" and Audre Lorde's "I was constantly reading, but not things that were assigned."
"Creamier is an up-to-the-minute global survey of recent developments in contemporary art, with an emphasis on emerging artists. Each of the ten selected curators is known for his or her integrity and expertise in staging presentations of new art on an international level. Each curator selects ten important new artists who have either emerged internationally over the last five years or who are still relatively unknown. There are no limitations on age, geography or medium. The result is a roster of the most significant and promising new artists working today - the true cream of the crop. Each curator also selects a key creative work for the sources section, such as an art work, text, film or album that has been significantly influential to art being produced at this moment, contextualizing the contemporary work featured in the rest of the book."
Elena Filipovic is Curator at Wiels in Brussels and Guest Curator of the Satellite Program for emerging artists at the Jeu de Paume, Paris, as well as Co-Editor of The Biennial Reader: Anthology on Large-Scale Perennial Exhibitions of Contemporary Art. She was co-curator of the 5th Berlin Biennial (2008) and co-editor of The Manifesta Decade: Debates and Contemporary Art Exhibitions in Post-Wall Europe (2006).
Douglas Fogle is Chief Curator and Deputy Director of Exhibitions and Public Programs at the Hammer Museum, Los Angeles. From 2005 to 2009 he was Curator of Contemporary Art at the Carnegie Museum of Art in Pittsburgh, where he curated the 2008 Carnegie International.
Yukie Kamiya is Chief Curator of the Hiroshima City Museum of Contemporary Art, Japan. Formerly Adjunct Curator at the New Museum in New York, she co-curated of 'Thermocline of Art: New Asian Waves' (2007) at ZKM, Karlsrue, and has contributed to Afterall and Art Asia Pacific.
Ines Katzenstein is an independent curator and Director of the Art Department at the Universidad Torcuato Di Tella, Buenos Aires. She was co-curator of the 2009 Mercosul Biennial, Brazil, and co-editor of Listen Here Now: Argentine Art of the 1960s (2004). Formerly she was Curator of the Museo de Arte Latinoamericano de Buenos Aires (MALBA).
Chus Martinezis Chief Curator of the Museu d'Art Contemporani de Barcelona (MACBA) and Associate Curator of the 2010 Sao Paulo Biennial. From 2006 to 2008 she was Director of the Frankfurter Kunstverein.
Kitty Scott is Director of Visual Arts at the Walter Phillips Gallery and the Banff International Curatorial Institute at the Banff Centre, Canada. Formerly Chief Curator at the Serpentine Gallery in London and Curator of Contemporary Art at the National Gallery of Canada, she has contributed to Canadian Art, Parachute and Parkett, as well as Phaidon's monograph Peter Doig (2007).
Debra Singer is Director and Chief Curator of The Kitchen, New York. She was formerly Curator at the Whitney Museum of American Art, where she co-curated the 2002 and 2004 Whitney Biennials.
Adam Szymczyk is the Director of Kunsthalle Basel. He co-curated of the 5th Berlin Biennial (2008) and was formerly Curator of the Foksal Gallery Foundation, Warsaw.
Catherine Wood is Curator of Contemporary Art and Performance at Tate Modern, where she co-curated 'Pop Life: Art in a Material World' (2009) and 'The World as a Stage (2007). She is the author of The Mind Is a Muscle: Yvonne Rainer (2006).
Tirdad Zolghadr is an independent curator and writer based in Berlin. He curated the United Arab Emirates pavilion at the 2009 Venice Biennale and was co-curator of the 2005 Sharjah Biennial. As a writer he has contributed to Parkett, Bidoun, Cabinet and Afterall.
Vitamin 3-D follows the success of Vitamin P: New Perspectives in Painting, Vitamin D: New Perspectives in Drawing and Vitamin Ph: New Perspectives in Photography, presenting a cross-generational survey of contemporary artists from 27 countries. Chosen from more than 500 nominations by significant international critics, curators, art historians and creative writers, Vitamin 3-D’s 117 established and emerging artists were selected on the basis that they have made a significant contribution to sculpture and installation (in their broadest sense) in the last five years.
Vitamin 3-D allows the reader to look at the medium in detail, to study sculpture’s unique properties in relation to itself, in relation to contemporary art and in relation to the world at large. An ongoing fascination with the key issues of modern sculpture, from the readymade to the specific object, today drives many artists to return to those issues again and again, with fresh and often surprising results.
In her evocative introductory essay for Vitamin 3-D, Anne Ellegood uses Rosalind Krauss’s landmark 1978 essay ‘Sculpture in the Expanded Field’ as the basis to explore the wildly inclusive breadth and depth of work that the term ‘sculpture’ can now be applied to within contemporary practice – and the key historical moments that serve as the precedents for what we now understand as both sculpture and installation.
Sculpture continues to strike out into new territory, harnessing the medium to confront today’s commodity world in its own materials or conjuring visionary new objects and environments like nothing seen before. Vitamin 3-D contributes to these international debates on contemporary sculpture and installation while providing an accessible overview and a concise reference book in an innovative design that embodies the materiality of its subject.
The photographs in this book were all selected for their value as images reflecting the Twentieth Century in all its glory and horror. In this, it succeeds. Indeed, with the growth of photojournalism over the century, readers might be excused for seeing it as a century of horror; images of war and violence abound. But this is a warts and all image of humanity, and that cannot be helped.
Each ten years is covered by a set of images, with a caption and an associated piece of background text. I found at least two captions that were completely wrong; and quite often an intriguing image would have background text that referred to the general situation the picture was taken within rather than telling the reader more about the image itself.
Of course, the book is now twenty years old, and hindsight is a wonderful thing. The first twenty years of the Twenty-First Century have been little better; we have nothing to be complacent about. Perhaps my biggest raise of the eyebrows was on page 1188, a picture showing a jubilant and victorious Lance Armstrong, the American cyclist who beat cancer and then went on to win the prestigious Tour de France. Except, of course, in the subsequent years his reliance on performance-enhancing drugs and his role in pushing those drugs out to his team-mates was exposed, and he was stripped of his titles.
This second edition is in a handier, square format; but its thickness still makes it a little unwieldy to handle and the text, especially in the additional notes, is quite small. Still, this was never going to be an easy exercise in packaging.
But this is a minor quibble. Here in one place is a visual history of the Twentieth Century. Leaf through its pages and see who we, who were born and lived in those times, were and are.
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RobertDay | 2 weitere Rezensionen | Mar 19, 2022 |
RobertDay | 2 weitere Rezensionen | Mar 19, 2022 | 
The summer forecast for contemporary art is decidedly "cooler" than expected. Massive cutting-edge international exhibitions including The Venice Biennale, Documenta 12 in Kassel, Germany and Sculpture Projects Muenster are all scheduled for June 2007 and the art world will be abuzz. But what if you can't make it to these events and you want a piece of the action? ICE CREAM: CONTEMPORARY ART IN CULTURE is an up to the minute collection ofthe most exceptional contemporary artists of tomorrow. It presents 100 of the world's top emerging artists selected by 10 esteemed curators including Jens Hoffman, Director of the CCA Wattis Institute in San Francisco; Shamim Momin, Associate Curator at the Whitney; Philippe Vergne, Chief Curator at the Walker Art Center; and The Wrong Gallery, formally "the smallest exhibition space in New York" that is now housed within the Tate Modern. Continuing the phenomenon established by its predecessors Cream (1998) Fresh Cream (2000) and Cream 3 (2003) as in "one that rises to the top," ICE CREAM identifies the cutting edge artists to watch in the future. The previous titles were a favorite among collectors as they accurately predicted a number of art stars including Tacita Dean, Olafur Eliasson and Thomas Hirschhorn. Stylishly designed, ICE CREAM also upholds the series 'heritage of innovative packaging by featuring a shiny iridescent cover. In ICE CREAM, each curator has selected 10 important new artists who have either emerged internationally over the past five years, or are still relatively unknown.Their definition of emerged means that an artist has had solo shows, but nothing large-scale in a major institution (apart from a couple recent exceptions), has been reviewed in the international art press, but not been the subject of a major monograph, and has been given sufficient exposure without yet becoming fully established. In the selection process, no limitations on geography or media were imposed. Over 25 countries are represented including China (a current favorite with collectors), Brazil, Russia, Canada, Slovenia, Korea, Israel, Kenya, Mexico, and the U.S. Age was also not a factor. The Wrong Gallery even went so far as to select the "most unlikely candidates." Massimiliano Gioni explained, "In other words, we went for the wrong ones: artists who are more than 60 years old; artists who are not emerging, but have emerged or simply stuck around long enough to make their voices heard by anyone who would listen." They selected artists such as Maria Lassnig, David Medalla, and Jiri Kovanda. ICE CREAM opens with a conversation between the contributors as they debate the changing role of the curator and current trends in contemporary art, including: *The blurring of roles between artist and curator demonstrated by the fact that artists have recently been invited to make selections in exhibitions. For example, The Wrong Gallery curated the 4th Berlin Biennial for Contemporary Art (2006) and presented an exhibition within the 2006 Whitney Biennial. The ICA London also exhibited the "Artist's Favorites" show in 2004. *The shift in the conception of the exhibition that expands beyond museum walls. Inserting art in different environments. *The effect of private art spaces that are run by collectors to display their own collections. Jens Hoffman states, "This will have a strong impact on the overall landscape of contemporary art, since many of those collectors who are opening spaces are also the people who give money to public institutions, which they'll probably cease to do (once they have their own location)." *The impact of the booming art market on artists who seem deeply affected by the pressure to conform to market forces and adapt their work. Each of the 100 artists is featured over four pages with a selection of their work together with a commentary by the curator who selected them, an exhibition history, and a bibliography. Every curator also selects a Source Artist, namely any artist from any previous generation whom they feel remains of key significance either to art at large or to his or her own thinking. ICE CREAM is a dynamic showcase of the next big flavors of the year. It provides a glimpse of what the future may hold and is a must-have for collectors and for anyone who follows or is beginning to explore the contemporary art scene.
Pursuing the theme of its predecessor, with 10 new world-class contemporary curators each choosing ten emerging artists, the book presents in its entirety the works of 100 artists and an up-to-the-minute global overview of the contemporary art world, not only for now but also for the future. These artists have risen to intense international acclaim since the 1990s or, in the opinion of the curators who have selected them, are about to emerge internationally in the near future.
Fresh Cream contains the enormous breadth of ideas and forms that exist in contemporary art. The artists' spreads are arranged in an A-Z order, featuring numerous examples of each artist's work alongside a concise text from the selecting curator and vital biographical information about the artist.
A conversation between the 10 curators and the commissioning editor gives a penetrative insight into their selections and of the key issues in contemporary art. The cultural context in which the artists work - from philosophy to fiction - is presented through recent texts from 10 contemporary writers, one selected by each curator. Itself embodying the creative originality and innovation of its content, Fresh Cream is packaged in an incredible, inflated, clear plastic pillow.
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