{"product_id":"globalization-and-contemporary-art-isbn-9781405179515","title":"Globalization and Contemporary Art","description":"\u003cp\u003eIn a series of newly commissioned essays by both established and emerging scholars, \u003ci\u003eGlobalization and Contemporary Art\u003c\/i\u003e probes the effects of internationalist culture and politics on art across a variety of media. \u003ci\u003eGlobalization and Contemporary Art\u003c\/i\u003e is the first anthology to consider the role and impact of art and artist in an increasingly borderless world.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eFirst major anthology of essays concerned with the impact of globalization on contemporary art\u003c\/li\u003e \u003cli\u003eExtensive bibliography and a full index designed to enable the reader to broaden knowledge of art and its relationship to globalization\u003c\/li\u003e \u003cli\u003eUnique analysis of the contemporary art market and its operation in a globalized economy\u003c\/li\u003e \u003c\/ul\u003e  List of Illustrations.  \u003cp\u003eNotes on Contributors.\u003c\/p\u003e \u003cp\u003eIntroduction: Globalization and Contemporary Art: A Convergence of Peoples and Ideas (\u003ci\u003eJonathan Harris\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 1: Institutions.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1 \u003ci\u003eReal Time\u003c\/i\u003e and Real Time at The Israel Museum, Jerusalem (\u003ci\u003eVivianne Barsky\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e2 Peddling Time When Standing Still: Art Remains in Lebanon and the Globalization That Was (\u003ci\u003eWalid Sadek\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e3 Homogeneity or Individuation? A Long View of the Critical Paradox of Contemporary Art in a Stateless Nation (\u003ci\u003ePeter Lord\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e4 Museums in the Colonial Horizon of Modernity: Fred Wilson's \u003ci\u003eMining the Museum\u003c\/i\u003e (1992) (\u003ci\u003eWalter Mignolo\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e5 Africus Johannesburg Biennale 1995: Butisi Tart? (\u003ci\u003eNatasha Becker\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 2: Formations.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e6 Post-Crisis: Scenes of Cultural Change in Buenos Aires (\u003ci\u003eAndrea Giunta\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e7 Evolution within the Revolution: The Afro-Cuban Cultural Movement and Cuban Art Collectives, 1975 to 2000 (\u003ci\u003eZoya Kocur\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e8 \u003ci\u003eKa Muhe'e, He i'a Hololua\u003c\/i\u003e: Kanaka Maoli Art and the Challenge of the Global Market (\u003ci\u003eHerman Pi’ikea Clark\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e9 Aboriginal Cosmopolitans: A Prehistory of Western Desert Painting (\u003ci\u003eIan McLean\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e10 Working to Learn Together: Failure as Tactic (\u003ci\u003eJudith Rodenbeck\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 3: Means and Forces of Production.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e11 The Two Economies of World Art (\u003ci\u003eMalcolm Bull\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e12 The Spectacle and Its Others: Labor, Conflict, and Art in the Age of Global Capital (\u003ci\u003eAngela Dimitrakaki\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e13 Cultural Mercantilism: Modernism's Means of Production: The Gutai Group as Case Study (\u003ci\u003eMing Tiampo\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e14 Audiovisionaries of the Network Planet (\u003ci\u003eSean Cubitt\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 4: Identifications.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e15 Contemporary Asian Art and the West (\u003ci\u003eDavid Clarke\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e16 World Pictures: Globalization and Visual Culture (\u003ci\u003eW. J. T. Mitchell\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e17 Leaves of Grass and Real Allegory: A Case Study of International Rebellion (\u003ci\u003eAlbert Boime\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e18 Collaboration in Art and Society: A Global Pursuit of Democratic Dialogue (\u003ci\u003eNikos Papastergiadis\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 5: Forms.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e19 Globalization Questions and Contemporary Art's Answers: Art in Palestine (\u003ci\u003eKhaled Hourani\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e20 Political Islam and the Time of Contemporary Art (\u003ci\u003eAmna Malik\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e21 Displaced Models: Techniques and Tactics of Reproduction across the Genres and Institutions of Western Art from Duchamp to Doujak (\u003ci\u003eLewis Johnson\u003c\/i\u003e0.\u003c\/p\u003e \u003cp\u003e22 White Man Got No Dreaming: Indigenous Art, Apartheid and the Emergence of \"Global Style\" Painting in Australia (\u003ci\u003eJeanette Hoorn\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e23 The Discourse of (L)imitation: A Case Study with Hole-Digging in 1960s Japan (\u003ci\u003eReiko Tomii\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 6: Reproduction.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e24 Art and Postcolonial Society (\u003ci\u003eRasheed Araeen\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e25 Why Art History is Global (\u003ci\u003eJames Elkins\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e26 The Agency of the Historian in the Construction of National Identity in Colombian Architecture (\u003ci\u003eFelipe Hernández\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e27 Aboriginal Art and Australian Modernism: An Althusserian Critique (\u003ci\u003eDarren Jorgensen\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e28 Gesturing No(w)here (\u003ci\u003eNermin Saybasili\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 7: Organization.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e29 The Emergence of Powerhouse Dealers in Contemporary Art (\u003ci\u003eDerrick Chong\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e30 The Art Market in Transition, the Global Economic Crisis, and the Rise of Asia (\u003ci\u003eIain Robertson\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e31 Global Contemporary? The Global Horizon of Art Events (\u003ci\u003eCharlotte Bydler\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e32 \"Institutionalized Globalization,\" Contemporary Art, and the Corporate Gulag in Chile (\u003ci\u003eDavid Craven\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e33 Culture, Neoliberal Development, and the Future of Progressive Politics in Southeastern Europe (\u003ci\u003eZhivka Valiavicharska\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003eSelect Bibliography.\u003c\/p\u003e \u003cp\u003eIllustration Credits.\u003c\/p\u003e \u003cp\u003eIndex.\u003c\/p\u003e \"Summing Up: Highly recommended. Upper-level undergraduates and above.\" (Choice, 1 November 2011) \u003cb\u003eJonathan Harris\u003c\/b\u003e is Professor of Global Art \u0026amp; Design Studies for the Winchester School of Art at the University of Southampton. He has published widely on contemporary art history and theory, and is a successful textbook author. His works include \u003ci\u003eThe New Art History: A Critical Introduction\u003c\/i\u003e (2001) and \u003ci\u003eArt History: The Key Concepts\u003c\/i\u003e (2006).  \u003ci\u003eGlobalization and Contemporary Art\u003c\/i\u003e is an unprecedented collection of essays that charts the intersection of art and globalization since the 1980s. The volume provides an authoritative, accessible, comprehensive, and challenging account of the impact of globalization upon contemporary visual art and its socio-cultural spheres of production, circulation, and consumption.\u003cbr\u003e \u003cbr\u003e   \u003cp\u003eRichly illustrated, this anthology showcases 33 essays from all corners of the world by well-known authors such as W.J.T. Mitchell, Rasheed Araeen, and James Elkins, as well as emerging scholars in art history\/theory, visual and museum studies. The collection is deliberately wide-ranging, embracing the subject in all its fullness, diversity and unruliness - from case-studies of artists and artworks to meditations on broader thematic, conceptual, and historiographical topics.\u003c\/p\u003e \u003cp\u003eTackling the subject through a variety of useful analytics - forms and formations, institutions, the production of meaning, identifications, and reproduction - \u003ci\u003eGlobalization and Contemporary Art\u003c\/i\u003e challenges the status of art history as the dominant discipline able to recognize and account for developments in visual art and \"art worlds\" since the 1980s. Collectively, this set of essays suggests how and why such a necessary re-conceptualization should take place and with what consequences. This is illuminating reading for all students and scholars of art history, visual culture, cultural studies, cultural policy and globalization studies.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989298856165,"sku":"NP9781405179515","price":98.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781405179515.jpg?v=1761783571","url":"https:\/\/k12savings.com\/products\/globalization-and-contemporary-art-isbn-9781405179515","provider":"K12savings","version":"1.0","type":"link"}