Special Issue "Contemporary Art 1989 to the Present"
Deadline for manuscript submissions: closed (30 November 2013)
Asst. Prof. Dr. Nathan J. Timpano
Assistant Professor of Art History, Department of Art and Art History, University of Miami, 302B Merrick Building, Coral Gables, FL 33146, USA
Phone: +305 284 4246
Interests: modern & contemporary art & theory: europe; the united states and latin america
The ever-changing, ever-ambivalent definition of postmodernism and its relationship to art history have enjoyed considerable attention in the current discourse surrounding contemporary art. A number of scholars have alternatively offered that contemporary art produced since 1989 has instead entered a post-postmodernist era, rife with its own theories and critiques. The Renaissance-era saw the birth of the ‘master’ artist, while the nineteenth and early twentieth centuries saw the development of avant-garde movements that, somewhat idealistically, believed art could change society for the better. What then, is the role of the artist in the contemporary era, when globalization, an ever-expanding art market, and a massive increase in the sheer number of artists worldwide have altered the role and status of art in society? This special issue of Arts is subsequently interested in gathering a collection of essays that explore the state of the arts since 1989. Traditional and critical perspectives are welcomed, as well as papers that present novel avenues of research, such as revisionist theories, an examination of newly emerging media, and interdisciplinary approaches to art and art history. Suggested themes include, but are not limited to: post-postmodernism and is relevance in contemporary art (history); globalization and the art market; art and politics; memory and contemporary art; and the increased visibility of Latin American contemporary art worldwide.
Asst. Prof. Dr. Nathan J. Timpano
Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. Papers will be published continuously (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.
Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are refereed through a peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed Open Access quarterly journal published by MDPI.
Please visit the Instructions for Authors page before submitting a manuscript. For the first couple of issues the Article Processing Charge (APC) will be waived for well-prepared manuscripts. English correction and/or formatting fees of 250 CHF (Swiss Francs) will be charged in certain cases for those articles accepted for publication that require extensive additional formatting and/or English corrections.
New Book Received: Contemporary Art: 1989 to the Present. Edited by Alexander Dumbadze and Suzanne Hudson. Wiley-Blackwell, Chichester, West Sussex, UK, 2013; 512 Pages. Price £22.99, €27.60, ISBN 978-1-4443-3866-9
Arts 2013, 2(1), 3-5; doi:10.3390/arts2010003
Received: 6 February 2013; in revised form: / Accepted: 7 February 2013 / Published: 7 February 2013| Download PDF Full-text (16 KB)
Type of Paper: Article
Title: National television and historical architecture: example of Iran
Authors: Maliheh Bahari Poor 1 * and Hamid-Reza Bahari Poor 2
Affiliations: 1 Faculty of Design and Architecture, Universiti Putra Malaysia, Persiaran universiti 1, 43300, Serdang, Selangor, Malaysia; E-Mail: email@example.com; 2 Faculty of Science, Universiti Putra Malaysia, 43400, UPM Serdang, Selangor, Malaysia; E-Mail: firstname.lastname@example.org; * Author to whom correspondence should be addressed
Abstract: It is believe that a national television channel should contain national contents in order to have acceptable representation for its own nation through history and culture. Novel aesthetic approach to television besides modern intellect of architecture, as argued in this paper, opens a way to compare television with other arts such as architecture and evaluate television programs based on aesthetic elements. In this paper, following to the argument above, Iranian national television and Iranian historical architecture have been focused. By concentrating on Iranian historical architecture, one of the most influential Iranian architectures was specified and was suggested to Iranian national television people to consider it in their program evaluations based on aesthetic elements and national contents.
Keywords: Television as art; Architecture as media; National television; Iranian Architecture
The below list represents only planned manuscripts. Some of these manuscripts have not been received by the Editorial Office yet. Papers submitted to MDPI journals are subject to peer-review.
Type of Paper: Article
Title: “Surveyism” and Surveillance as Symptoms of Global Contemporary Art
Author: Sylvester Okwunodu Ogbechie
Affiliation: History of Art and Architecture, Ellison 2720, University of California, Santa Barbara, CA 93106-7080, USA; E-Mail: email@example.com
Abstract: My paper investigates the meaning of contemporary art in an age of surveillance. The proliferation of site-specific installation and performance art that characterizes global contemporary art reflects the rise of a totalitarian concept of art and society that marginalizes history and political consciousness. Depending largely on cursory surveys, this new art equates with a culture of global surveillance that abridges the effectiveness of political dissent. The “global” contemporary art of biennales, globe-trotting curators, artists and collectors therefore represents the art of a global elite that is increasingly divorced from society despite its claims to populism in both practice and discourse.
- Eric Rosenberg, Associate Professor; Department of Art and Art History, Tufts University, 11 Talbot Avenue, Medford, MA 02155, USA
Last update: 11 July 2013