Multiculturalism and the Global Art World: The Policies of Large Scale Art Exhibitions

2015 ◽  
Vol 6 (1) ◽  
pp. 62
Author(s):  
Christian Morgner
Keyword(s):  
Large Scale ◽  
Art World ◽  
Art Exhibitions ◽  
Global Art

scholarly journals Diversity and (In)equality in the Global Art World: Global Development and Structure of Field-Configuring Events

2017 ◽  
Vol 11 (3) ◽  
Author(s):  
Christian Morgner
Keyword(s):  
Large Scale ◽  
Theoretical Framework ◽  
Second Order ◽  
Western Hemisphere ◽  
Art World ◽  
Global Development ◽  
Quantitative Survey ◽  
The Arts ◽  
Western Values ◽  
Global Art

AbstractThere is a boom of art historical studies on the globalisation of the arts or global art world. Sociological accounts are, despite the rise of cultural and art sociology in recent years, almost complete absent from this discussion. This paper makes a contribution to the globalisation of the arts, but from a sociological and quantitative perspective. The focus of this paper is on particular type of global institution – biennials and other types of art festivals or large-scale exhibitions. These institutions are seen being major places of exchange and formulation of norms and standards. They define what is hip and new. However, theories of globalisation, in combination with accounts from professionals of the field, claim that these institutions propagate only Western values or have a homogenising quality, because they only show caste works from artists of the Western hemisphere or that they repeat the same works and artists across the globe. However, based on a large-scale quantitative survey, this paper will demonstrate that picture is more complex and that we find tendencies to homogenisation and heterogenisation existing at the same time or that the locality of these events acts as a source of uniqueness and innovativeness. The paper proposes a new theoretical framework that interprets these findings as based on Niklas Luhmann’s idea of second-order observation and Bruno Latour’s and Harrison C. White’s conception of the network.

The Place of Traditional Artists in the Preservation of Nigerian Art

2018 ◽  
pp. 75-88
Author(s):  
Victoria N Osuagwu
Keyword(s):  
Belief Systems ◽  
Sacred Grove ◽  
Art World ◽  
Human Beings ◽  
Open Spaces ◽  
Economic Resource ◽  
The People ◽  
Traditional Artists ◽  
Global Art ◽  
Source Of Information

Human beings have always left signs of their activities behind them. These signs take both tangible and intangible forms, including buildings, sites, sculptural works, antiquities, rock art paintings, belief systems, and traditions. The people of this millennium have recognized the remains of our fore-bears namely archaeological, architectural monuments, sites, and cultural works as an integral part of the cultural heritage of all humanity. They also recognized the fact that heritage is an invaluable source of information about the lives and activities of human beings and their artistic and technical capabilities over the centuries. The Nigerian Ancient Art Tradition which spans eight thousand years is a product of diverse artists from Dufuna, Nok, Igbo-Ukwu, Ife, Owo, Benin, Tada, etc. Also remarkable are the sculptural works created by late Susanne Wenger (an Austrian) and her New Sacred Art Movement in Osun-Osogbo Sacred Grove, which gave meaning to open spaces within the grove. This paper examines the role played by these artworks to project Nigeria to the global art world. The benefits to Nigeria and the global art traditions and recommendations on how to revive this dwindling economic resource will also be examined. The approach used was to study the artworks produced by some of these artists. Some of the findings were that the works were carefully done with suitable materials that have withstood climate change.

Introduction

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
United States ◽  
Historical Context ◽  
The United States ◽  
Art World ◽  
Dance History ◽  
The Core ◽  
Political Conditions ◽  
Global Art ◽  
Scholarly Attention

The introduction presents the core historiographical problem that Making BalletAmerican aims to correct: the idea that George Balanchine’s neoclassical choreography represents the first successful manifestation of an “American” ballet. While this idea is pervasive in dance history, little scholarly attention has been paid to its construction. The introduction brings to light an alternative, more complex historical context for American neoclassical ballet than has been previously considered. It places Lincoln Kirstein’s 1933 trip to Paris, famous for bringing Balanchine to the United States, within a transnational and interdisciplinary backdrop of modernism, during a time when the global art world was shifting significantly in response to the international rise of fascism. This context reverberates throughout to the book’s examination of American ballet as a form that was embedded in and responsive to a changing set of social, cultural, and political conditions over the period covered, 1933–1963.

Art and Global South: “Playing Venice” at the Kochi-Muziris Biennale (KMB)

2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Manuela Ciotti
Keyword(s):  
Material Culture ◽  
South India ◽  
Geographical Location ◽  
Global South ◽  
Art World ◽  
Cultural Form ◽  
Origin Identity ◽  
Global Art ◽  
Venice Biennale ◽  
New Location

AbstractThis article employs artifacts from the KMB’s “material culture” as a lens into this institution’s branding process and, within it, its interaction with the Venice Biennale. It analyzes larger questions about the career of the biennale cultural form as it re-territorializes in a new location that is added to the art world map “in progress.” Historically, geographical location has been crucial for many biennales in the Global South to articulate their origin, identity, and claims vis-à-vis the global art world. Moreover, biennale proliferation especially in the South has produced cartographic re-imaginings aiming to destabilize the “center-periphery” configuration of the art world map. The article shows that the KMB does not reiterate ideological standings put forward by Southern biennales but crafts its positionality on different grounds. These entail simultaneously anchoring the KMB to histories of circulation in and out of South India tracing back at least two millennia and strategically weaving a relation with the archetypical Venice Biennale in the present.

New terrains: ‘Northern Irish art’ in the wider world

2017 ◽  
Author(s):  
Declan Long
Keyword(s):  
Northern Ireland ◽  
Art World ◽  
Northern Irish ◽  
Departure Point ◽  
Economic Forces ◽  
Global Art ◽  
Venice Biennale ◽  
Irish Art

Chapter two asks how ‘Northern Irish art’ of the post-Troubles era might be critically approached and appraised in light of broader contemporary conditions. The relation of shifts in Northern Ireland’s art to wider developments in the global art world are addressed and the chapter discusses the ways in which artists from Northern Ireland have been positioned and presented internationally in the post-Troubles years. This chapter takes the 2005 exhibition of art from Northern Ireland at the Venice Biennale as the departure point for an extended examination of how the representation of ‘local’ concerns is shaped in relation to wider cultural and economic forces.

On Aggregators

October ◽  
2013 ◽  
Vol 146 ◽  
pp. 3-18 ◽  
Author(s):  
David Joselit
Keyword(s):  
Uneven Development ◽  
Literal Meaning ◽  
Art World ◽  
Forward Movement ◽  
Avant Garde ◽  
Economic Disparity ◽  
Garment Factories ◽  
Global Art

The term contemporary has shifted from an adjective to a noun. Once a neutral descriptor meant to indicate recentness, the contemporary is now widely claimed as a period, composed of loosely related aesthetic tendencies, following and displacing modernism. In this regard, it enters a tradition of now discredited movements that includes “pluralism” and “postmodernism.” Unlike these predecessors, however, which took Euro-Amer ican art as their pr imary archive, contemporary encompasses the temporally coeval but geographically diverse expressions of a global art world—a point critics often emphasize by noting that the literal meaning of con-temporary is “with time,” which in turn is sometimes poetically glossed as referring to “comrades in time.” A framework for global art is thus furnished through the undeniable and ostensibly value-free contention that work so designated occupies the same moment in time. There is, however, a paradox in rendering the adjective contemporary as a noun: When packaged as a period, the contemporary unconsciously reinscribes a model of temporal progression that was fundamental to modernism. While discussions of the contemporary typically emphasize its synchronic dimension—calling upon, as I've mentioned, the con to suggest simultaneity across different locations and perspectives—by definition it is always advancing. Like an avant-garde, the contemporary can only go forward, but unlike an avant-garde, the contemporary doesn't have an avant: Its forward movement does not carry the productive shock of being in advance or, perhaps more appropriate, of being out of sync with its time. In its discursive structure, the contemporary is a kind of blank or denatured modernism, one that is only ever “with” its moment. And this seemingly innocuous “with” masks the dramatically uneven development of globalization. For being together in time does nothing to redress economic disparity, as the victims of collapsed Bangladeshi garment factories producing inexpensive clothes for Western corporations can attest.

The Biennial: The Practice of Selection in a Global Art World

2014 ◽  
Vol 32 (2) ◽  
pp. 275-282 ◽  
Author(s):  
Christian Morgner
Keyword(s):  
Art World ◽  
Global Art

Migration Into Art

2018 ◽  
Author(s):  
Anne Ring Petersen
Keyword(s):  
International Relations ◽  
Forced Migration ◽  
Art World ◽  
Aesthetics And Politics ◽  
Institutional Practices ◽  
Critical Engagement ◽  
The People ◽  
Artistic Representations ◽  
The World ◽  
Global Art

This book addresses a topic of increasing importance to artists, art historians and scholars of cultural studies, migration studies and international relations: migration as a profoundly world-transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art’s entanglement and critical engagement with migration and globalisation as a key source to improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. Focusing on the interrelations between transcultural identities, the paradoxes of globalisation and the experience of migration as structured by both mobility and settlement, longing and belonging, identification and disidentification, it contributes knowledge about three interwoven issues of enduring interest. Firstly, it is concerned with identity and belonging because migration challenges the identities of the people who migrate but also of the communities where migrants settle. The second set of issues revolves around visibility and recognition. Which impact does increased mobility have on the art world and the careers and works of artists? How have the discursive, structural and artistic changes paved the way for the idea of ‘global art’ and a growing institutional visibility and recognition of artists with a migrant background? Thirdly, the book is concerned with the question of the interrelations between aesthetics and politics and how aesthetics, politics and ethics may be balanced in artistic representations of migration, especially forced migration.

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