Here are 100 books that Contemporary Korean Art fans have personally recommended if you like
Contemporary Korean Art.
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I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge.
This engaging book looks at globalization and art from a perspective well beyond the conventional art world. Wong analyzes the work of artists in the Chinese "urban village" of Dafen where some five million paintings are produced a year–copies of Western masterpieces. Rather than viewing this industry condescendingly, Wong takes Dafen as a laboratory for understanding what qualities make an artist, and how creativity exists even in contexts of reproduction and replication.
In the Guangdong province in southeastern China lies Dafen, a village that houses thousands of workers who paint Van Goghs, Da Vincis, Warhols, and other Western masterpieces, producing an astonishing five million paintings a year. To write about life and work in Dafen, Winnie Wong infiltrated this world, investigating the claims of conceptual artists who made projects there; working as a dealer; apprenticing as a painter; surveying merchants in Europe, Asia, and America; establishing relationships with local leaders; and organizing a conceptual art show for the Shanghai World Expo. The result is Van Gogh on Demand, a fascinating book about…
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge.
This is the best account I know of the double bind that artists subjected to settler forms of colonialism have had to endure. Taking Nigerian modern art as his case study, this eminent Africanist art historian shows how, on the one hand, colonial officials attempted to abolish the indigenous artistic heritage as "savage," or "primitive," while simultaneously blocking African artists from a European art education. To become modern required a negotiation between these dual limitations and ended up producing something very different from Western modernism.
Written by one of the foremost scholars of African art and featuring 129 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960, before the outbreak of civil war in 1967. Chika Okeke-Agulu traces the artistic, intellectual, and critical networks in several Nigerian cities. Zaria is particularly important, because it was there, at the Nigerian College of Arts, Science and Technology, that a group of students formed the Art Society and inaugurated postcolonial modernism in Nigeria. As Okeke-Agulu explains, their works show both a deep connection with local artistic…
I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge.
This book is part of a series that extensively documents watershed modern and contemporary exhibitions. The Havana Biennial of 1989 was especially important because it developed what has been called South-South connections in the exhibition of contemporary art–in other words, connections between different parts of the Global South or non-West that are not routed through European or North American art capitals. This was possible because, during the Cold War, Cuba maintained extensive cultural networks throughout the so-called Third World
The second installment in Afterall's Exhibition Histories series, Making Art Global, Part 1 focuses on the third Havana Biennial, which took place in 1989. In the core essay, Rachel Weiss examines the ways in which this exhibition extended the global territory of contemporary art and redefined the biennial model. Gerardo Mosquera, a key member of the curatorial team, contributes a reflection on the project, and its constituent exhibitions and events are documented photographically. The book also includes a paper delivered by Geeta Kapur at the Biennial conference and republishes reviews of the Biennial by Coco Fusco and Luis Camnitzer. It…
A Duke with rigid opinions, a Lady whose beliefs conflict with his, a long disputed parcel of land, a conniving neighbour, a desperate collaboration, a failure of trust, a love found despite it all.
Alexander Cavendish, Duke of Ravensworth, returned from war to find that his father and brother had…
I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge.
Hito Steyerl is one of the most prominent artists and media theorists in the world. Her essays draw unexpected and always stimulating connections between media technologies, surveillance, war, and political power. They are short, concise, and a pleasure to read, but they always engage with big ideas around the ethical and social challenges of a world made global through the framework of the Internet and digital communication more broadly.
In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world's most valuable artworks are used as a fictional currency in a global futures market that has nothing to do with the work itself? Can we distinguish between creativity and the digital white noise that bombards our everyday lives? Exploring artefacts as diverse as video games, Wikileaks files, the proliferation of spam, and political actions, she exposes the paradoxes within globalization, political economies, visual culture,…
I’m an art historian, author, and the former curator of modern and contemporary art at the North Carolina Museum of Art in Raleigh, North Carolina—so art is my thing! I’m the host of the independent podcast ArtCurious, which I started in 2016 and which was named one of the best podcasts by O, The Oprah Magazine and PC Magazine, among other outlets. I’m also the author of a book called ArtCurious, which was lauded in Publisher’s Weekly, BookPage, and Booklist. I’ve got advanced degrees in art history and love to share all my enthusiasm for art whenever I can (also: travel!).
This book is my top recommendation for any art newbie that comes to me asking for book ideas. Where should I start if I want to learn about art history? Start right here! The Annotated Mona Lisa is easy to read, and educational yet entertaining, and it'll help you discover everything from what cave paintings actually mean, to the difference between Expressionism and Abstract Expressionism (hint: it's right there in the name), and even how contemporary artists make work out of miscellaneous objects. Great for preteens on up.
An illustrated tutorial of prehistoric to contemporary world art, from cave paintings to video art installations to digital and Internet media in an easy-to-understand format.
This heavily illustrated crash course in art history is revised and updated from the second edition published in 2007, including a new chapter about recent artists and movements. Featuring succinct page-length essays, instructive sidebars, and more than 300 photographs, The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to the Present takes art education out of the realm of dreary textbooks, demystifies jargon and theory, and makes the history of art movements…
I grew up in Yorkshire and spent many happy hours as a teenager wandering about the Yorkshire Sculpture Park, looking at giant Henry Moores in the rolling landscape. I subsequently trained as an art historian and have spent the last thirty years writing about art, from the YBAs to our prehistoric roots. A Little History of Art was borne out of this journey. Increasingly I have been drawn to researching what art can tell us about British history. My bookshelves groan with monographs but these five volumes have helped me think more deeply about Britain’s landscapes and its past. I hope they will do the same for you.
I don’t know why there aren’t more books like this – England on Fire comprises twelve visual essays that span 2,000 years of English art, from a Celtic sculpture of a head from c.100–300AD (that looks like a Modigliani) to new work by Cathy de Monchaux, Claire Partington and George Shaw.
Themes are broad, such as ‘Myth, Magic and Ritual’ and 'Rebellious Nature’ and chapters include folk rituals, landscape vistas, photographic tableaux, stained glass, and prints.
It picks a romantic path through time, with multiple works by William Blake, Samuel Palmer, and Frederick H. Evans, and it is a great way to view different interpretations of the English landscape.
Forget the tired rogues' gallery of lords and ladies, forget the tall ships and haywains. These images cut to the heart of England's psychic landscapes to portray an Albion unhinged, where magic and rebellion and destruction are the horses to which the country is hitched. On these fabled shores we are all castaways, whether our family has lived here for four thousand years or for four.
Here you will find depictions of ancient trackways, chalk carvings and standing stones, of animal-masked community rituals, of streets set ablaze in protest, of…
The Duke's Christmas Redemption
by
Arietta Richmond,
A Duke who has rejected love, a Lady who dreams of a love match, an arranged marriage, a house full of secrets, a most unneighborly neighbor, a plot to destroy reputations, an unexpected love that redeems it all.
Lady Charlotte Wyndham, given in an arranged marriage to a man she…
I’m an art historian, author, and the former curator of modern and contemporary art at the North Carolina Museum of Art in Raleigh, North Carolina—so art is my thing! I’m the host of the independent podcast ArtCurious, which I started in 2016 and which was named one of the best podcasts by O, The Oprah Magazine and PC Magazine, among other outlets. I’m also the author of a book called ArtCurious, which was lauded in Publisher’s Weekly, BookPage, and Booklist. I’ve got advanced degrees in art history and love to share all my enthusiasm for art whenever I can (also: travel!).
I love this book! Like the idea of The Annotated Mona Lisa but don’t want quite so much detail? This one is great— let’s take 50 works of art throughout art history and tell you exactly why they are important. Easy peasy, and filled with humor and joy, too.
The Short Story of Art is a new and innovative introduction to the subject of art. Simply constructed, the book explores 50 key works, from the wall paintings of Lascaux to contemporary installations, and then links these to sections on art movements, themes and techniques.
The design of the book allows the student or art enthusiast to easily navigate their way around key periods, artists and styles. Accessible and concise, it simplifies and explains the most important and influential concepts in art, and shows how they are connected.
The book explains how, why and when art changed, who introduced certain…
I've taught Drawing in universities since 1985. Currently, I work at IADE-Universidade Europeia in Lisbon, Portugal. Long before that, at the age of five, I drew a volcano. A mountain exploding on the top as a delirious shiny crown and lava running from its flanks making a pattern of vibrant reddish-yellow. Proudly, I showed it to my mother. She exclaimed: What a beautiful pineapple! I only retained the word ‘beautiful’ and never stopped drawing. Trained as an architect, I discovered the virtue of drawing what we see, while experiencing the act of being there. I also became a compulsive reader, perhaps to experience the act of being elsewhere.
This book answers the excruciating question: Where are the antinomic antipodes of Los Angeles located? The British master of Pop Art, a long-time inhabitant of LA from 1964 to 2019, filled this sketchbook in his native England. There are no words in this book except for an apocryphal introduction and Hockney’s hand brushed “Yorkshire April 04”. If Henry Moore masters the ballpoint pen, David Hockney excels in watercolor. But the brush is not primarily used to fill in surfaces but to draw. The colorful water flows in fast gestures easy and attentive. “I could do this,” one thinks. Only if I had my own Yorkshire and my faraway LA. The book is also a prequel to Hockney’s most recent work, fully bucolic, produced in Normandy, France where, according to him, people know how to live. Hockney pretends to do everything unassumingly. Of course we know that this is not…
In recent years David Hockney has returned to England to paint the landscape of his childhood in East Yorkshire. Although his passionate interest in new technologies has led him to develop a virtuoso drawing technique on an iPad, he has also been accompanied outdoors by the traditional sketchbook, an invaluable tool as he works quickly to capture the changing light and fleeting effects of the weather. Executed in watercolour and ink, these panoramic scenes have the spatial complexity of finished paintings - the broad sweep of sky or road, the patchwork tapestry of land - yet convey the immediacy of…
As a career coach and artist-advocate, who had a successful career as an artist, I am always on the lookout for books to recommend to clients that offer excellent guidance about facets of developing a career as an artist, including the innerworkings of the artworld. I am very picky! Each book that I recommend contains advice, and/or observations that can help artists make wise career plans and decisions, develop realistic expectations, and soothe anxieties.
As a career coach and artist advocate, I was curious about what the author had to say about the inner workings of the art world. Quite happily, I read an insightful and humorous probe from a writer who sincerely wanted to understand art and its importance.
Bosker is not afraid of naming names when discussing critics, gallery owners, curators, collectors, and artists. She goes undercover, so to speak, and writes about her experiences as a gallery assistant, an artist’s assistant, a museum security guard, and a sales assistant at Art Basel Miami. And to add to her experiences, she tackles the use of the foreign language of “art speak.”
This book follows the journey of a writer in search of wisdom as he narrates encounters with 12 distinguished American men over 80, including Paul Volcker, the former head of the Federal Reserve, and Denton Cooley, the world’s most famous heart surgeon.
In these and other intimate conversations, the book…
As a fantasy and science fiction artist, or imaginative realist, I have always gravitated toward works of imagination and own many books on artists in this field, and love them all. Having met many of my artistic heroes this was a tough call so I picked the five that books that resonated with me during my early life and exploration of this most fantastic form of expression. I hope they fill you with the same wonder as they did with me.
Although all the other books on this list feature American artists this pick is by an astonishing Welsh artist. As a young illustrator in London, I was aware of Jim's incredible work and still own a well-worn copy of his first art book from that period. Unlike his American counterparts, Jim worked mostly in acrylics with some airbrush, and he greatly influenced me with his sense of atmosphere and the scale of his imagination. The fact that we both worked in London at the same time, In the same field, and never met until recently makes me a little melancholy. They say you shouldn't meet your heroes; I find this not to be true. Once again Nice big full-page images, as all art books should be!
This new collection of paintings reveals Jim Burn's idiosyncratic obsessions and fantasy visions rendered in a photo-realistic style. They are accompanied by his own witty and informative text, explaining the thoughts behind each one. Included are anecdotes from science fiction writers who worked with him.
