The long-lasting present: Art, duration, and contemporaneity

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

What constitutes the contemporaneity of contemporary art? Should we take the “contemporary” here as a simple reference to the historical period in which the art in question is produced or practiced? In this case, is it interchangeable with “present” or “current”? Or perhaps, beyond the sense of historical and chronological determination, the term contemporary indicates here something inherent to the specific way of being of certain works and artistic practices? This article charts the emergence of the notion of contemporary art and its underlying concept of contemporaneity in 1960s art criticism from a transregional perspective, taking the work of art critics Mário Pedrosa, Miyakawa Atsushi, and Michael Fried, as foci of comparative analysis.

Original languageEnglish
Title of host publicationContemporary Art and Capitalist Modernization
Subtitle of host publicationA Transregional Perspective
PublisherTaylor and Francis
Pages31-40
Number of pages10
ISBN (Electronic)9781000180176
ISBN (Print)9780367490737
DOIs
Publication statusPublished - 2020 Jan 1

ASJC Scopus subject areas

  • Arts and Humanities(all)

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