Access the full text.
Sign up today, get DeepDyve free for 14 days.
References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.
BEING CONTEMPORARY One of the essential concerns of visual art, performance, and critical thought is the idea of the âcontemporaryâ or the ânew.â We are part of an era that had cast forth great themes, and complex ways of organizing society and culture, while also being challenged by many received ideas. How does one take the measure of oneâs work in the zeitgeist of the times? What makes a performance, a play, a piece of music, or an essay contemporary? What does the search for the contemporary or the innovative mean to the arts and to the public today? How is it recognized or understood? Consider your own work, or another artistâs work, in this context. BaBette Mangolte What does it mean for an artist to be âcontemporaryâ? Does it mean sensing what is current and thus able to reflect oneâs intuitions about the ânowâ in the work produced? Is doing what everyone else is doing a mark of being contemporary, or the opposite? Can one become contemporary by inventing something new that retroactively, at a future date, comes to signify this past era? And to what degree is contemporary art contingent upon the specifics of a historical
PAJ: A Journal of Performance and Art – MIT Press
Published: Jan 1, 2012
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.