Dead History, Live Art?: Spectacle, Subjectivity and Subversion in Visual Culture since the 1960s by Jonathan Harris
While scholars and critics generally agree that the 1960s signaled the end of high modernism, what is less clear is how to characterize contemporary art since the 1960s. Acclaimed art scholar Jonathan Harris here tackles this question by assembling a rich body of essays, along with an extended interview with renowned feminist art scholar Amelia Jones, that track the movements in and issues central to contemporary art practice since this pivotal decade. The contributors to Dead History, Live Art? argue that visual art since the 1960s can no longer claim a separate and exalted status; rather it should be interpreted as an integral part of a larger culture of display, consumption, and power that continues to evolve within a global capitalist system. Distinguished writers and artists such as Frazer Ward, Anna Dezeuze, Richard Layzell, and Jane Chin Davidson launch a new discussion on art and mass culture in their essays, with uncompromising examinations of how, in the context of modern
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