Globalization And Contemporary Art

In a series of newly commissioned essays by both established and emerging scholars, Globalization and Contemporary Art probes the effects of internationalist culture and politics on art across a variety of media. Globalization and Contemporary Art is the first anthology to consider the role and impact of art and artist in an increasingly borderless world. First major anthology of essays concerned with the impact of globalization on contemporary art Extensive bibliography and a full index designed to enable the reader to broaden knowledge of art and its relationship to globalization Unique analysis of the contemporary art market and its operation in a globalized economy

Jonathan Harris is Professor of Global Art & 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 The New Art History: A Critical Introduction (2001) and Art History: The Key Concepts (2006).

Each section will contain between 5-7 essays (each c.5,000 words). Each section will begin with a synoptic and clarificatory introduction (c.2,000 words) by the editor intended to help the reader make sense of the following essays. The section introductions will highlight the salient conceptual and methodological implications of the essays in the section as a whole and hence help to articulate the overall coherence of the book. They will work as a useful pedagogic aid as well as a means to indicate the intellectual relations between all the book's essays and sections.Introduction (JH):.Defining the Concepts: 'Globalisation', 'Contemporary', 'Visual', 'Art', and 'Art World'..Sections:.1. Institutions.Essays in this section will identify and analyse the apparently novel kinds of 'transnational' public/private institutions, agencies, and bodies created in the last twenty five years or so - biennials, art commissioning agencies, art fairs, and competitions such as the UK Tate 'Turner Prize' - and evaluate their global (as well as continuing national and regional) significance. Some of the authors included in my collection Art, Money, Parties: New Institutions in the Political Economy of Contemporary Art (Tate Liverpool/Liverpool University Press, Liverpool, 2004) may be invited to contribute..Potential Contributors:.Charlotte Bydler (Uppsala University) - biennials and art fairs.Paul Usherwood (University of Northumbria) - 'public art' in the UK.Gerardo Mosquera (Havanna/New York-based critic, biennial curator, and cultural theorist) - institutions and radical art.2. Formations.This section will consider new kinds of artists' groups that have developed since the 1970s, as well as trace their relationship to earlier formations within western avant-garde culture since the late-nineteenth century. The question of the increasing recent interconnection of commissioning agencies with artists' own putatively independent groupings will be predominant here - has globalisation produced a new kind of social incorporation of art and artists reminiscent of the pre-twentieth century phases of European arts patronage dominated by Church and State? What examples of artists' formations from outside the European and North American model might there be? Has even the 'neo-avant-garde' died?.Potential Contributors:.Julian Stallybrass (Courtauld Institute of Art) - Young British Art.Gen Doy (De Montford University) - Black artists.Maria Lind (IAPSIS, Stockholm) - artists co-operatives/Frieze..3. Means of Production.With what range of materials do artists work in the era of late-capitalist globalisation? This section examines a number of connected historical and theoretical questions: how has the recent development of 'super-museums' like Tate Modern and Beacon affected the materials, scale, and working processes of contemporary artists? The development of multi-, mixed media, and installation art since the 1960s has undermined the significance and meaning of ancient traditional artforms and techniques. How might this displacement of painting and conventional sculpture be a consequence of, and contribution to, global capitalist/state corporatist economic conditions?.Potential Contributors:.Brandon Taylor (University of Southampton) - large-scale artworks.Kirk E. Pillow (Hamilton College, New York) - digital photography.Sean Cubitt (University of Waikato , New Zealand) - installation art..4. Identifica