Contemporary Art and Other Obstructions

Adam Geczy is an artist and writer who teaches at the University of Sydney, Australia. His exhibitions have been shown throughout Europe, Asia and Australia where his work is held in several national collections. As a writer he has published over 25 books (on contemporary art, fashion, cultural studies and aesthetics), and is the author of numerous critical articles and book chapters.Alan Cruickshank is an editor, publisher, writer and artist with an international career of more than three decades. As Director, Contemporary Art Centre of South Australia, his art and publishing projects especially focused on Australia’s relationship to greater Asia. He was recently publisher/editor of di’van | A Journal of Accounts and Honorary Research Fellow, Centre of Visual Art, University of Melbourne, Australia.

• Introduction: Alan CruickshankPart One: Tribulations of Global Art1. From Participatory Art to Participatory Criticism: The Big Noise2. Drained and Confused: Insistent Voice on “The Contemporary”3. Touching Reality4. They don't make art like they used to: Late last year in the Wall Street Journal Camille Paglia mounted a frontal onslaught on contemporary art5. A dish served lukewarm6. Is there such a thing as global curating?7. Transorientalism and the pavilion attitude to attitude to race and identity8. The Australia Effect9. Spectres of Video: The Ends of Video Art10. Art and the loss of vision11. MetaresistancePart Two: The Art Institutions12. The New textuality for the Visual Arts: Entrenchment in the Academy13. The Sordid Fraud of Outsider Art14. Art is not Research15. Sanitised SituationismPart Three: Asia-Pacific Perspectives on the Biennale16. Regionality and Nationality17. Overdressed for the Prom18. Be Careful What You Wish For19. C'mon let's stick together. On collaboration, inclusion and consonance in the 18th Biennale of Sydney20. Art Apartheid in the South Pacific21. ‘Biennale Baroque’ Unveiling the 17th Biennale of Sydney22. Sex, revolution and circumlocutionPart Four: Art and Indigeneity23. Who owns dots? Or, spirituality for the highest bidder, or, can you buy aura?24. In Whose House? Craig Walsh Embedded’25. Aboriginal Art DiagnosticBibliographyIndex