ABSTRACT

This unique book offers guidance for contemporary art practices in dialogue with history, story, memory, and tradition.

Artist and lecturer Paul O’Kane uses innovative and creative means, informed by a storytelling tradition as well as academic research, to make connections between contemporary art, history, and the past. The aim of this book is to give readers a sense of the profundity of historical questions, while making the challenge inviting, welcoming and manageable. It is designed to set out an expansive, inclusive and diverse range of potential directions, and speculations from which students can develop personal paths of enquiry. This is achieved by writing and designing the text in an accessible way and providing a range of ‘ways-in’. A series of carefully chosen references, examples, key texts, and possible essay questions are chosen and pitched at various levels and can be close-read, discussed, digested, and responded to either verbally or in the form of a presentation or essay.

Written primarily for a broad range of fine arts students, this book encourages readers to reconsider their studies and art practices in light of a historical perspective, enhanced by creative contributions from artists, imaginative philosophers, and influential cultural commentators.

chapter |6 pages

Introduction

How to use this book

part I|107 pages

Shorter essays

chapter 1|7 pages

Country Life

chapter 2|6 pages

Folkert de Jong

Serious history and black comedy

chapter 3|7 pages

Jimmie Durham

Spoof museologist, ahistorical dreamer

chapter 4|6 pages

Progressive tradition

Ariella Azoulay and Chloé Zhao (postmodernisms and Earthrise)

chapter 5|6 pages

Sigrid Holmwood

History performed as a radical gesture

chapter 6|7 pages

Tacita Dean

Seeing and believing (altermodern and veracity)

chapter 7|6 pages

Robert Smithson and George Kubler

A bus ride in geological time

chapter 8|6 pages

Charles Baudelaire's 1846 salon essay

Modern life and modern art as history

chapter 9|6 pages

Cao Fei, Yu Hong, Tie Ning, and Jia Zhangke

Memory, return, and afterimage

chapter 10|7 pages

John Akomfrah

Hauntological history and costume drama

chapter 11|7 pages

Pablo Bronstein

Critiquing neo-Georgian aesthetics in a lingering postmodern paradigm

chapter 12|3 pages

Walter Benjamin's Theses

History's mental gymnasium

chapter 13|8 pages

Exploring the outmoded

A fragment of Benjamin's Surrealism

chapter 14|5 pages

Beguiling memories

Memory palaces, wunderkammers, Proust, and La Jetée

chapter 15|5 pages

A melancholic past-present tense

The novels of Kazuo Ishiguro

chapter 16|4 pages

Folk tales and fairy tales

Calvino, cunning and high spirits, hearts, chains, and liberties

chapter 17|4 pages

History or Dreaming

Wade Davis on Jared Diamond

chapter 18|5 pages

‘I Don't Believe in Things'

Gilles Deleuze, history, and event

part II|114 pages

Longer essays

chapter 19|8 pages

Dark Horses and Hollow Men

Hew Locke and the monument – Part 1

chapter 20|8 pages

Dark Horses and Hollow Men

Hew Locke and the monument – Part 2

chapter 23|16 pages

Giving form to history

History and story, Johannes Phokela, and the Soweto museums 1

chapter 24|8 pages

Elizabeth Price and the popular past

Amateurism, fetish, and juvenilia – Part 1 1

chapter 25|9 pages

Elizabeth Price and the popular past

Amateurism, fetish, and juvenilia – Part 2 1

chapter 26|9 pages

Reverb

A passion for the past in popular music – Part 1

chapter 27|9 pages

Reverb

A passion for the past in popular music – Part 2

chapter 28|12 pages

A selfie stick in the charity shop

History and the self, photography, video, and technology as extensions of man

chapter 29|11 pages

The incident at Modane

What have we learned 1

chapter 30|4 pages

Conclusion

What have I done?