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Books on the topic 'Contemporary art production'

Author: Grafiati

Published: 9 March 2023

Last updated: 31 July 2025

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1

Chieh-Jen, Chen. The Bianwen Book: Images, Production, Action and Documents of Chen Chieh-Jen. The Cube Project Space, 2015.

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2

Murphy, Jill, and Laura Rascaroli, eds. Theorizing Film Through Contemporary Art. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467.

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As the cinematic experience becomes subsumed into today's ubiquitous technologies of seeing, contemporary artworks lift the cinematic out of the immateriality of the film screen and separate it into its physical components within the gallery space. How to read these reformulations of the cinematic medium - and their critique of what it is and has been? In Theorizing Cinema Through Contemporary Art: Expanding Cinema, leading film theorists consider artworks that incorporate, restage, and re-present cinema's configuration of the key categories of space, experience, presence/absence, production a

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3

Colin, Ledwith, Staple Polly, and Museo d'arte contemporanea Donnaregina, eds. You have not been honest: Contemporary film and video from the UK. British Council, 2007.

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4

(Firm), Sotheby's, ed. Russian avant-garde and Soviet contemporary art: The property of members of the All Union Artistic Production Association named after E.V. Vuchetich.. Sotheby's, 1988.

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5

Daina, Augaitis, Pakasaar Helga, and Walter Phillips Gallery, eds. Heroics, a critical view: Ida Applebroog ... [et al.] : February 2-28, 1988, Walter Phillips Gallery for the production, presentation and exhibition of contemporary art. The Gallery, 1988.

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6

M, Delgado Maria, and Rebellato Dan 1968-, eds. Contemporary European theatre directors: A companion. Routledge, 2010.

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7

Richmond, Dick. Produced by Contemporary. Published for Contemporary Productions by Virginia Pub. Co., 2008.

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8

Greenaway, Peter. Peter Greenaway: Cine y pintura : ubicuidades y artificios. Museo Rufino Tamayo, 1997.

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9

Greenaway, Peter. Papers =: Papiers. Dis Voir, 1990.

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10

Greenaway, Peter. Fear of drowning by numbers règles du yeu. Dis Voir, 1996.

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11

Greenaway, Peter. Peter Greenaway: Interviews. University Press of Mississippi, 2000.

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12

Greenaway, Peter. Peter Greenaway: Artworks, 63-98. Manchester University Press ; New York, N.Y. : Distributed exclusively in the USA by St. Martin's Press, 1998.

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13

Bolay, Jean-Marie, and Bénédicte Le Pimpec. Faire, faire faire, ne pas faire: Entretiens sur la production de l'art contemporain. Les Presses du réel, 2021.

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14

On knowledge production: A critical reader in contemporary art. BAK, 2008.

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15

Jonathan, Harris. Terrorism and the Arts: Practices and Critiques in Contemporary Cultural Production. Taylor & Francis Group, 2021.

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16

Jonathan, Harris. Terrorism and the Arts: Practices and Critiques in Contemporary Cultural Production. Taylor & Francis Group, 2021.

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17

Jonathan, Harris. Terrorism and the Arts: Practices and Critiques in Contemporary Cultural Production. Taylor & Francis Group, 2021.

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18

Contemporary British Muslim Arts and Cultural Production: Identity, Belonging and Social Change. Routledge, 2023.

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19

Contemporary British Muslim Arts and Cultural Production: Identity, Belonging and Social Change. Taylor & Francis Group, 2023.

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20

Contemporary British Muslim Arts and Cultural Production: Identity, Belonging and Social Change. Taylor & Francis Group, 2023.

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21

Contemporary British Muslim Arts and Cultural Production: Identity, Belonging and Social Change. Taylor & Francis Group, 2023.

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22

Murphy, Jill, and Laura Rascaroli, eds. Theorizing Film Through Contemporary Art. Amsterdam University Press B.V., 2020. http://dx.doi.org/10.5040/9789048561698.

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As the cinematic experience becomes subsumed into today's ubiquitous technologies of seeing, contemporary artworks lift the cinematic out of the immateriality of the film screen and separate it into its physical components within the gallery space. How to read these reformulations of the cinematic medium – and their critique of what it is and has been? In Theorizing Cinema Through Contemporary Art: Expanding Cinema, leading film theorists consider artworks that incorporate, restage, and re-present cinema's configuration of the key categories of space, experience, presence/absence, production a

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23

Roberts, Bill. Art, Design and Capital since The 1980s: Production by Design. Taylor & Francis Group, 2019.

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24

Roberts, Bill. Art, Design and Capital since The 1980s: Production by Design. Taylor & Francis Group, 2019.

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25

Roberts, Bill. Art, Design and Capital since The 1980s: Production by Design. Taylor & Francis Group, 2019.

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26

Roberts, Bill. Art, Design and Capital since The 1980s: Production by Design. Taylor & Francis Group, 2019.

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27

Fiona, Campbell. BorderLine archaeology: A practice of contemporary archaeology--exploring aspects of creative narratives and performative cultural production. Dept. of Archaeology, Göteborg University, c2004., 2004.

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28

Heisner, Beverly. Production Design in the Contemporary American Film: A Critical Study of 23 Movies and Their Designers. McFarland & Company, 2004.

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29

Monahan, Torin. Crisis Vision: Race and the Cultural Production of Surveillance. Duke University Press, 2022.

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30

Crisis Vision: Race and the Cultural Production of Surveillance. Duke University Press, 2022.

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31

The Production of Lateness: Old Age and Creativity in Contemporary Narrative. Narr Francke Attempto, 2020.

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32

Storyboards: Motion in art. 3rd ed. Focal Press, 2007.

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33

Storyboards: Motion in art. 2nd ed. Focal Press, 2000.

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34

Storyboards: Motion in Art. Nomis Creations, 1994.

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35

Bouman, Margot. Sampling and Site-Specific Practice in Contemporary Art. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350196698.

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In the early 20th century, copying, cutting and pasting entered the Western European avant-garde through collage and readymades, as artists employed found objects and ephemera to create new meaning from existing materials. This book explores how this practice has evolved in contemporary art today, looking at its important and distinct outcomes in the practice of artists such as Andrea Fraser, Douglas Gordon, Isaac Julien, Christian Marclay, Amie Siegel and Christopher Williams. It analyses the pivotal consequences of the interrelationships these artists establish between fragments of culture,

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36

Czajka, Agnes, and Áine O’Brien, eds. Art, Migration and the Production of Radical Democratic Citizenship. The Rowman & Littlefield Publishing Group, 2022. https://doi.org/10.5040/9798881809577.

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Contemporary Europe – ridden by social, political and economic crises, overlaid onto colonial and imperial trajectories, and shaken by the shockwaves generated by Brexit and wide scale human displacement – has become a space in which citizenship and belonging are contested, disrupted, performed and produced anew. Art, Migration, and the Production of Radical Democratic Citizenshipexplores the contribution of migrant and refugee artists to the performance and production of radical democratic citizenship in Europe. It foregrounds the insights of artists and cultural actors with diverse experienc

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37

Mould, Stephen. Curating Opera: Reinventing the Past Through Museums of Opera and Art. Taylor & Francis Group, 2021.

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38

Mould, Stephen. Curating Opera: Reinventing the Past Through Museums of Opera and Art. Taylor & Francis Group, 2021.

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39

Mould, Stephen. Curating Opera: Reinventing the Past Through Museums of Opera and Art. Taylor & Francis Group, 2021.

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40

Mould, Stephen. Curating Opera: Reinventing the Past Through Museums of Opera and Art. Routledge, Chapman & Hall, Incorporated, 2022.

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41

Mould, Stephen. Curating Opera: Reinventing the Past Through Museums of Opera and Art. Taylor & Francis Group, 2021.

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42

Zepke, Stephen. Sublime Art. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748669998.001.0001.

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The book analyses recent philosophical discussions of Kant’s theory of the sublime, and the artistic examples these give or provoke, in order to construct a diagram of sublime contemporary art. This diagram will have the immediate aim of producing a new genealogy of post-war art that avoids the modern/postmodern rupture, in favour of a sublime art that can utilise both traditional and new media and has the production of the future as its political goal. The book will draw on both philosophical discourse and art history and theory in making its argument. The introduction will give an account of

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43

Goehr, Lydia. Art and Politics. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0027.

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This article focuses on one issue in the wide-ranging, contemporary debates on the relation between art and politics, namely, philosophy's role in these debates and the contribution it makes. In the background, this survey acknowledges that philosophy may provide useful conceptual clarification regarding the many ways the arts engage in and with the political sphere, for example in the production of propaganda art and the uses of images in mass media; the use of the arts in identity politics and political demonstration; institutional histories and in the marketing and consuming of art products

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44

Smith, Craig. Relational Art. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350201934.

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Taking place in the skies over London, the plazas of Rotterdam, and the hallways of museums worldwide, a new kind of art has emerged since the 1990s.Known as Relational Art, this conceptual practice features audience participation in ways never before realised, often using new media and social networking. In this book, academic and artist Craig Smith outlines a rigorous theory of Relational Art, explaining why audience interaction and collective art production has become so relevant. Tracing the development of the movement, from its beginnings with the 1996 Traffic exhibition in Bordeaux and N

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45

Gover, K. E. Art and Authority. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768692.001.0001.

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Art and Authority is a philosophical essay on artistic authority and freedom: its sources, nature, and limits. It draws upon real-world cases and controversies in contemporary visual art and connects them to significant theories in the philosophical literature on art and aesthetics. Artworks, it is widely agreed, are the products of intentional human activity. And yet they are different from other kinds of artifacts; for one thing, they are meaningful. It is often presumed that artworks are an extension of their makers’ personality in ways that other kinds of artifacts are not. This is clear f

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46

Curating Opera. Taylor & Francis Group, 2021.

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47

McLean, Adrienne L. Costume, Makeup and Hair. Bloomsbury Publishing Plc, 2016.

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48

McLean, Adrienne L., Drake Stutesman, Prudence Black, and Mary Desjardins. Costume, Makeup, and Hair. Rutgers University Press, 2016.

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49

McLean, Adrienne L., Drake Stutesman, Prudence Black, and Mary Desjardins. Costume, Makeup, and Hair. Rutgers University Press, 2016.

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50

McLean, Adrienne L. Costume, Makeup and Hair. Bloomsbury Publishing Plc, 2016.

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