VERY GOOD FIRST EDITION softcover, free tracking number, clean NEW text, solid binding, NO remainders NOT ex-library, smoke free; slight gentle shelfwear / storage-wear; WE SHIP FAST. Carefully packed and quickly sent. 201706936 The San Francisco Art Institute is proud to announce the release of a new book, Paradigm Shifts: Walter and McBean Galleries Exhibitions and Public Programs, San Francisco Art Institute (2006-2011), which collects images, texts, and ephemera from SFAI's exhibitions and public programs over the past six years. During this time and under the direction of internationally renowned curator Hou Hanru, the Walter and McBean Galleries have developed an innovative approach to curating and public programming. In 600+ pages of color images and text, Paradigm Shifts reflects a vision and strategy that brings contemporary art practice into dialogue-and confrontation-with the effects of globalization on our cultural lives and daily existence. The book is organized into sections that illustrate the five axes of investigation that guide SFAI's programming: Global Figures, New Models of Culture and Art Production, Pacific Perspectives, Acting Out in the City, and New Voices. Please choose Priority / Expedited shipping for faster delivery. (No shipping to Mexico, Brazil, Argentina or Italy.)

Paradigm Shifts - Walter and McBean Galleries Exhibitions and Public Programs San Francisco Art Institute 2006 - 2011

Hou Hanru

SFAI

<p>A leading female figure in Chinese contemporary art, Yin Xiuzhen (b. 1963, Beijing, China) began her career in the early 1990s following her graduation from Capital Normal University in Beijing where she received a B.A. from the Fine Arts Department in 1989. Best known for her works that incorporate second&amp;hyphen;hand objects, Yin uses her artwork to explore modern issues of globalization and homogenization. By utilizing recycled materials such as sculptural documents of memory, she seeks to personalize objects and allude to the lives of specific individuals, which are often neglected in the drive toward excessive urbanization, rapid modern development and the growing global economy. The artist explains, "In a rapidly changing China, ’memory’ seems to vanish more quickly than everything else. That’s why preserving memory has become an alternative way of life."</p>

Yin Xiuzhen (Phaidon Contemporary Artists Series)

Arts & Photography

Hung, Wu

Stephanie Rosenthal

History & Criticism

Phaidon Press

The rise of globalism has created tremendous challenges to old economic, political, and cultural paradigms, changes that are increasingly reflected in diverse artistic practices across the planet. If disciplinary boundaries are now crossed as easily as geographic ones, how does the new internationalism that we are facing affect aesthetics and artistic production? Is there a link, for example, between the rise of video works and the global availability of digital media? Does the global information age facilitate an international language of art and an alternative reading of history, from art history toward art histories? From the perspective of a museum of modern and contemporary art--a purely European construct--the art institution has to overcome a major contradiction, one that exists between its mission of permanence and its mission of change. How can cultural institutions contribute to the revamping of their own structures now that the hegemony of Western modernity is being challenged? How can museums connect with new audiences through different practices, different scholarships, and different interpretive strategies that grow out of the sedimentation of their own history? To invite and encourage such dialogue, How Latitudes Become Forms looks at current scholarship on globalism and changing curatorial practices, and identifies critical models provided by artists themselves, featuring thought-provoking essays and conversations by curators, critics, and cultural programmers from across the world, as well as multidisciplinary artworks by more than 40 artists from Brazil, China, India, Japan, South Africa, Turkey, and the United States. Edited by Philippe Vergne.Essays by Paulo Herkenhoff, Hidenaga Otori,and Hou Hanru. Introduction by Kathy Halbreich. Conversations with Cuauhtemoc Medina & Vasif Kortun, Kathy Halbreich & Vishakha Desai, Steve Dietz & Raqs Media Collective, Philip Bither, Baraka Sele and Philippe Vergne. Paperback, 9 x 11 in., 336 pages, 250 color & 16 b/w illustrations

How Latitudes Become Forms: Art in the Global Age

Halbreich, Kathy

Vergne, Philippe

Herkenhoff, Paulo

Collections, Catalogs & Exhibitions

Walker Art Center

<p>They cross borders, spanning territories and cultures; wherever they go they gather information and borrow images, styles, and languages. For a variety of reasons, they have left their native soil. They are artists from around the world: from Europe to Southeast Asia, the Middle East to America. What unites them is an intercultural outlook that is not a deliberate choice, but a response to the stimuli and the influences of the different environments in which they have ended up living. Published in conjunction with the exhibition co-organised by the Spazio Oberdan in Milan and the San Francisco Art Institute, Wherever We Go brings together more than fifty works (videos, sculptures, installations, drawings, and photographs) by twenty-three artists from around the world. Challenging any unequivocal or simplistic definition, the works of these artists invite us to reflect on themes of displacement and migration, citizenship and representation. The works convey the complex and stratified character of</p>

Wherever we go: Art, identity, cultures in transit

Gabi Scardi

5Continents

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Books by Hou Hanru