The name of this section expresses its central mission: to accompany from the viewpoint of art and cultural history the entire spectrum of artistic activity from the immediate present back to late modernism.
The fact that we approach the subject from a cultural studies angle is only partially owed to the ongoing popularity enjoyed by this variously definable guiding principle within the humanities – in spite of the critique voiced by Gumbrecht, Latour, and others. More to the point, our approach entails the integration of academically heterogeneous perspectives upon a wide variety of manifestations of art and design: we seek to provide a forum for publication and discussion that is explicitly not limited to writers from art history and related disciplines. However, the broad perspective must be based on a willingness of each contributor to discuss the respective theoretical premises. We consider current art criticism as a whole under-theorized and therefore we welcome authors to advance the theoretical/methodological explorations by the means of engaging with specific artworks and exhibitions. The medial, material, and political/iconographic multiplicity of recent and current art and exhibition production – particularly outside of Europe and North America –, the dynamics of artistic concepts of self, their background in gender systems as well as in spatial and performative structures and popular (visual) culture, in our opinion, offer ample opportunity to test current points of observation and points of friction suggested in recent art and cultural research.
Currently, we see the need to explore contemporary cultures and practices of showing and display, of evidence and credibility in art. Contributions that address these among many other subjects are welcome.
Please contact the editors if you have questions or would like to suggest an article for publication.