The Contingent Object of Contemporary Art

The Contingent Object of Contemporary Art
by Martha Buskirk

The Contingent Object of Contemporary Art
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Book Summary Information

Author: Martha Buskirk
Edition: Paperback
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2005-02-18
ISBN: 0262524422
Number of pages: 320
Publisher: The MIT Press

Book Reviews of The Contingent Object of Contemporary Art

Book Review: impressive, informative and user-friendly
Summary: 4 Stars

In The Contingent Object of Contemporary Art Martha Buskirk weaves an introductory survey that posits as its premise the question of "what is art" and "what criteria should be used to critique it". The book is written with such an ease of exploration that it is marketed to a seasoned audience but it instructs with an immediacy that is refreshing and enlightening. The boundless definition of art is surveyed and engaged through an exploration that is thorough and representative, leaving questions to the reader that allows for a continued meditative practice.
The critic here follows suit with more conventional readings, but does so only as a point of departure and delves into the dynamics of a dialogue that she sustains admirably and efficaciously.
Manipulation of concepts and theories is always given its due resonance, allusions to pop art is brought to the fore to better illustrate a changing landscape that has a foundational influx. Anyone who is interested in contemporary art should do well to pick up this study: they will undoubtedly become informed with a more adequate and formal framework to the questions art has posed in recent days and its overall impact on social, cultural and conventional paradigms.
For a more varied in-depth scholarly approach look into "The Lure of the Object."

Summary of The Contingent Object of Contemporary Art

In this book, Martha Buskirk addresses the interesting fact that since the early 1960s, almost anything can and has been called art. Among other practices, contemporary artists have employed mass-produced elements, impermanent materials, and appropriated imagery, have incorporated performance and video, and have created works through instructions carried out by others. Furthermore, works of art that lack traditional signs of authenticity or permanence have been embraced by institutions long devoted to the original and the permanent.Buskirk begins with questions of authorship raised by minimalists' use of industrial materials and methods, including competing claims of ownership and artistic authorship evident in conflicts over the right to fabricate artists' works. Examining recent examples of appropriation, she finds precedents in pop art and the early twentieth-century readymade and explores the intersection of contemporary artistic copying and the system of copyrights, trademarks, and brand names characteristic of other forms of commodity production. She also investigates the ways that connections between work and context have transformed art and institutional conventions, the impact of new materials on definitions of medium, the role of the document as both primary and secondary object, and the significance of conceptually oriented performance work for the intersection of photography and the human body in contemporary art.Buskirk explores how artists active in the 1980s and 1990s have recombined strategies of the art of the 1960s and 1970s. She also shows how the mechanisms through which art is presented shape not only readings of the work but the work itself. She uses her discussion of the readymade and conceptual art to explore broader issues of authorship, reproduction, context, and temporality.

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