"Art cinema" has for over fifty years defined how audiences and critics imagine film outside Hollywood, but surprisingly little scholarly attention has been paid to the concept since the 1970s. And yet in the last thirty years art cinema has flourished worldwide. The emergence of East Asian and Latin American new waves, the reinvigoration of European film, the success of Iranian directors, and the rise of the film festival have transformed the landscape of world cinema. This book brings into focus art cinema's core internationalism, demonstrating its centrality to understanding film as a global phenomenon. The book reassesses the field of art cinema in light of recent scholarship on world film cultures. In addition to analysis of key regions and films, the essays cover topics including theories of the film image; industrial, aesthetic, and political histories; and art film's intersections with debates on genre, sexuality, new media forms, and postcolonial cultures. Global Art Cinema brings together a diverse group of scholars in a timely conversation that reaffirms the category of art cinema as relevant, provocative, and, in fact, fundamental to contemporary film studies.
This book brings into focus art cinema's core internationalism, demonstrating its centrality to understanding film as a global phenomenon. The book reassesses the field of art cinema in light of recent scholarship on world film cultures.
Author: Rosalind Galt
Publisher: Oxford University Press
Category: Performing Arts
Author: Richard Witzig
Publisher: CusiBoy Publishing
In recent years, the term global art has become a catchphrase in contemporary art discourses. Going beyond additive notions of canon expansion, this volume encourages a differentiated inquiry into the complex aesthetic, cultural, historical, political, epistemological and socio-economic implications of both the term global art itself and the practices it subsumes. Focusing on diverse examples of art, curating, historiography and criticism, the contributions not only take into account (new) hegemonies and exclusions but also the shifting conditions of transcultural art production, circulation and reception.
Global art discourses mostly retain the artist's agency in its aporetic relation to
situatedness; the equivalent to the writer's azza sentence is the 'burden of
representation' of the artist (cp. Juneja 2011), the implicit request to stand in for
Author: Sarah Dornhof
Publisher: transcript Verlag
This monograph uses the national pavilions of the Venice Biennale as a vehicle to examine the development of international contemporary art trends within the Asia-Pacific region, including Australia, Japan and Korea and 16 additional national entities who have had less continuous participation in this global art event. Analysing both the spatial and visual representation of contemporary art presented at the Venice Biennale and incorporating the politics behind national selections, this monograph provides insights into a range of important elements of the global art industry. Areas analysed include national cultural trends and strategies, the inversion of the peripheral to the centre stage of the Biennale, geopolitics in gaining exhibition space at the Venice Biennale, curatorial practices for contemporary art presentation and artistic trends that seek to deal with major economic, cultural, religious and environmental issues emerging from non-European art centres. This monograph will be of interest to scholars in art history, museum studies and Asia-Pacific cultural history.
Australian representation in the Venice Biennale as a lens on how Australia saw
its national culture within a global context. ... 13 Global Arts Projects (GAP) was
established after Australian Exhibition Touring Agency (AETA) failed to receive ...
Author: Stephen Naylor
In the course of the increasing presence of the same consumer goods and lifestyles worldwide, art has also become a carrier of globalization throughout our universal society. Partially due to the revolution in communications technology, art has been able to take advantage of the accessibility of each individual and to connect entire cultures and create networks. Boundaries have become fluid, not only between nations, but also between genres: art as cultural standardization. In thirty-nine interviews with insiders from art scenes in a broad range of cultural regions--North and South America, Europe, and Asia--this publication sheds light on this highly topical, multifaceted theme. Editors Irene Gludowacz, Silvia von Bennigsen, and Susanne van Hagen, all well-versed in the language of the art world, met with internationally known artists, collectors, gallerists, exhibitors, and businesspeople around the world, whose very personal opinions provide fundamental insight into the exciting themes surrounding the opportunities and dangers of globalized art. Interviews with: John Baldessari, Jagdish Bhagwati, Peter M. Brant, Eli Broad, Francesco Buranelli, Jean-Marc Bustamante, Yves Carcelle, Maurizio Cattelan, Claudia Cellini, Rattan Chadha, Dong Jo Chang, Lisa Dennison, Harald Falckenberg, Lourdes Fernández, Arne Glimcher, Ingvild Goetz, John Good, Marat Guelman, Ulrich Guntram, Stefan Horsthemke, Guillaume Houzé, Dakis Joannou, John Kaldor, Jitish Kallat, Mohamed Abdul Latif Kanoo, Oleg Kulik, Pearl Lam, Ronald S. Lauder, Gerd Harry Lybke, Igor Markin, Vik Muniz, Simon de Pury, Jacqueline Rabouan, Neo Rauch, Thaddaeus Ropac, Kiki Smith, Marc Spiegler, Robert Storr, Janaina Tschäpe, Marc-Olivier Wahler, Ai Weiwei, Guan Yi.
"Will globalization change art forever?
Author: Silvia von Bennigsen
Publisher: Hatje Cantz Pub
An indispensable study for all admirers of Jean Michel Massing's work, this publication includes essays reflecting some of the many fields of research that he has explored throughout his academic career. Twenty-one of Professor Massing's colleagues and former students have contributed to this volume on the occasion of his retirement as Professor of Art at the University of Cambridge. The global aspect of Jean Michel Massing's oeuvre forms the binding element between the various topics covered in this collection, paying homage to the interdisciplinary nature of his approach to the field of art history. Defying strictly linear, spatio-temporal trajectories, this volume is an ongoing conversation with Professor Massing, ambitiously taking his brilliant work as the inspiration and basis for the further development of a global history of art.
"This book is a Festschrift to honour Jean Michel Massing, Professor of the History of Art at the University of Cambridge, on his retirement and contains essays from 21 of his colleagues and former students.
Author: Phillip G. Lindley
Publisher: Harvey Miller
This is the third volume in The Art Seminar, James Elkin's series of conversations on art and visual studies. Is Art History Global? stages an international conversation among art historians and critics on the subject of the practice and responsibility of global thinking within the discipline. Participants range from Keith Moxey of Columbia University to Cao Yiqiang, Ding Ning, Cuautemoc Medina, Oliver Debroise, Renato Gonzalez Mello, and other scholars.
It is important, therefore, to speak of art histories in the plural, which are
practicedina variety of institutional settings and which take on numerous, often
incommensurate, forms. Rather than focusing on the global reach (ornot)of “
Author: James Elkins
This extensive Handbook addresses a range of contemporary issues related to arts education across the world. It is divided into six sections; Contextualising Arts Education, Globally and Locally; Arts Education, Curriculum, Policy and Schooling; Arts Education Across the Life Span; Arts Education for Social Justice: Indigenous and Community Practice; Health, Wellbeing and Arts Education and Arts-Based and Research-Informed Arts Education. The Handbook explores global debates within education in the areas of dance, drama, music, media and visual arts. Presenting wide-ranging research from pedagogies of adaptation developed in Uganda to ethnomusicology in Malaysia and community participatory arts to wellbeing in Canada the Handbook highlights the universal need for arts education and in particular the importance of indigenous (including both traditional and contemporary practice) arts education. With contributions from internationally renowned scholars and practitioners and building on the World Alliance for Arts Education Global Summit in 2014, the Handbook creates an essential resource for arts education practices in and out of school alongside institutional, traditional and contemporary contexts. Students, teachers and practitioners across the arts disciplines will find the text invaluable for developing further opportunities to promote and study arts education.
Rather than limiting the arts to personal expression, the arts have become
personal actions interacting with a larger social ... This sampling of a/r/tographic
work reminds me of such a quilt and reinforces for me that global art education
needs to ...
Author: Georgina Barton
An essential guide to the multifaceted and increasingly connected global art community from 1900 to today.
Jessica Lack introduces fifty pioneering modern and contemporary art movements born out of political engagement, decolonization, marginalization or conflict.
Author: Jessica Lack
Publisher: Art Essentials
An assortment of activities representing different cultures throughout the world
The fun, easy-to-do art activities in Global Art use collage, painting, drawing, printing, construction and sculpture to help children appreciate people and cultures from all over the world.
Author: MaryAnn F. Kohl
Publisher: Gryphon House, Inc.
"The controversially debated term of a global history of art is the general topic of this book. Each of the contributions of internationally renowned art historians focuses on specific regions and artistic practices by exploring their global and trans-cultural connections in differentiated ways. It is about the standpoints, theoretical foundations and methodical clarifications - and not least about the question how histories of art are considered and documented outside Euro-American contexts"--Publisher's website.
"The controversially debated term of a global history of art is the general topic of this book.
Author: Julia Allerstorfer
This is the second publication from the ongoing research series, Global Art and the Museum (GAM), which was initiated in 2001 by German art historian Hans Belting and artist, writer and curator Peter Weibel at the ZKM Center for Art and Media in Karlsruhe, Germany. The last 20 years have seen a rapid globalization of the art world, resulting in geographic decentralization and a shift away from a primarily Western perspective. GAM's aim is to analyze the effect of these changes on the art market, museums and art criticism. This volume comprises a collection of essays by experts--such as Claude Ardouin, Keeper of the African Section of London's British Museum, Koeki Claessens, Director of Central Africa's Royal Museum and Eugene Tan, Director of the Institute of Contemporary Arts Singapore--who presented at the 2007 conference.
This is the second publication from the ongoing research series, Global Art and the Museum (GAM), which was initiated in 2001 by German art historian Hans Belting and artist, writer and curator Peter Weibel at the ZKM Center for Art and ...
Author: Hans Belting
Publisher: Hatje Cantz Pub
Drawing on interviews with artists from around the world, this illustrated exploration, organized by continent, of the global art scene reveals the preoccupations of artists in the 21st century who no longer have to follow one prevailing theory.
Drawing on interviews with artists from around the world, this illustrated exploration, organized by continent, of the global art scene reveals the preoccupations of artists in the 21st century who no longer have to follow one prevailing ...
Author: Alistair Hicks
How is home-grown contemporary art viewed within the Middle East? And is it understood differently outside the region? What is liable to be lost when contemporary art from the Middle East is 'transferred' to international contexts - and how can it be reclaimed? This timely book tackles ongoing questions about how 'local' perspectives on contemporary art from the Middle East are defined and how these perspectives intersect with global art discourses. Inside, leading figures from the Middle Eastern art world, western art historians, art theorists and museum curators discuss the historical and cultural circumstances which have shaped contemporary art from the Middle East, reflecting on recent exhibitions and curatorial projects and revealing how artists have struggled with the label of 'Middle Eastern Artist'. Chapters reflect on the fundamental methodologies of art history and cultural studies - considering how relevant they are when studying contemporary art from the Middle East - and investigate the ways in which contemporary, so-called 'global', theories impact on the making of art in the region. Drawing on their unique expertise, the book's contributors offer completely new perspectives on the most recent cultural, intellectual and socio-political developments of contemporary art from the Middle East.
This timely book tackles ongoing questions about how 'local' perspectives on contemporary art from the Middle East are defined and how these perspectives intersect with global art discourses.
Author: Hamid Keshmirshekan
Publisher: Bloomsbury Publishing
While Paris was the capital of the art world at the turn of the twentieth century, many of the city's galleries expanded globally and cultivated international alliances, capitalizing on foreign collectors' interest. If production was focused in the French capital, which drew artists from around the world – from Van Gogh to Picasso – the contemporary-art market was international in scope, and art dealers tapped into the ever-growing pool of discerning collectors in Northern and Eastern Europe, the U.K., and the U.S. Moreover, these traders were forced to counter the devastating effects of wars, revolutions, currency devaluation, and market crashes which stalled collecting in Europe and rendered transatlantic trade not just desirable, but necessary. This book assembles original scholarship based on a close inspection of and fresh perspective on extant dealer records that have only recently become available to researchers. It caters to an amplified curiosity concerning the emergence and workings of our unprecedented contemporary-centric and global art market. This anthology fills a significant gap in the burgeoning field of art market studies in that it addresses how, initially, contemporary art (which has since become historical modernism) made its way into collections -- who validated what by selling and buying it, why, where, and how – complete with concrete examples, bibliographical and archival references, which should appeal to scholars, dealers, collectors, curators, educators, artists and art lovers alike. It celebrates the modern art dealer as transnational impresario, the global reach of the modern-art market, and the impact of traders on the history of collecting, and ultimately on the history of art.
This book assembles original scholarship based on a close inspection of and fresh perspective on extant dealer records that have only recently become available to researchers.
Author: Christel H. Force
Publisher: Bloomsbury Visual Arts
Category: Antiques & Collectibles
Author: Sandra Lach Arlinghaus
Category: Mathematical geography
After Authority explores the tendency in art cinema to respond to political transition by turning to ambiguity, a system that ideally stems the reemergence of authoritarian logics in art and elsewhere. By comparing films from Italy, Hungary, South Korea, and the United States, this book contends that the aesthetic tradition of ambiguity in art cinema can be traced to post-authoritarian conditions and that it is in the context of a transition away from authoritarianism where art cinema aesthetics become legible. Art cinema, then, can be seen as a mode of cinematic practice that is at its core political, as its constitutive ambiguity finds its roots in the rejection of centralized and hierarchical configurations of authority. Ultimately, After Authority proposes a history of art cinema predicated on the potentials, possibilities, and politics of ambiguity.
By comparing films from Italy, Hungary, South Korea, and the United States, this book contends that the aesthetic tradition of ambiguity in art cinema can be traced to post-authoritarian conditions and that it is in the context of a ...
Author: Kalling Heck
Publisher: Rutgers University Press
Category: Performing Arts
In this, the latest TEFAF report on the international art and antiques market, Dr Clare McAndrew of Arts Economics analyses the 47.4 billion global art trade in 2013. This annual survey has become the established source of data on an increasingly important economic sector, which now supports 2.5 million jobs worldwide in over 308,000 businesses. This year the emphasis is on the US, the worlds largest art market, and on China, its fastest growing rival in recent years. The report draws attention to the part played by art fairs in attracting international collectors to a single location. TEFAF Maastricht, which last year drew over 70,000 visitors from sixty one countries, is a leading example of the economic benefits of such events. We are again grateful to Anthony Browne for organizing this annual research programme for TEFAF. Willem Baron van Dedem President Ben Janssens Chairman
In this, the latest TEFAF report on the international art and antiques market, Dr Clare McAndrew of Arts Economics analyses the 47.4 billion global art trade in 2013.
Author: Clare Andrew
Publisher: Vior Webmedia
In 'The murmuring of the artistic multitude' art sociologist Pascal Gielen defends the hypothesis that the globalized art scene is an ideal production entity for economic exploitation. How can the art world preserve its own dynamic and freedom? This third edition has been thoroughly updated with Gielen's latest insights into the political dimensions of art, autonomy and the relationship between art, ethics, and democracy.
How can the art world preserve its own dynamic and freedom? This third edition has been thoroughly updated with Gielen s latest insights into the political dimensions of art, autonomy and the relationship between art, ethics, and democracy.
Author: Pascal Gielen
Publisher: Valiz/Antennae Series
Has corporate business overtaken the art world? It's no secret that art and business have always mixed, but their relationship today sparks more questions than ever. Museum, Inc. describes the new art conglomerates from an insider's perspective, probing how their roots run deep into corporate culture. Paul Werner draws on his nine years at the Guggenheim Museum to reveal that contemporary art museums have not broken radically with the past, as often claimed. Rather, Werner observes, they are the logical outcome of the evolution of cultural institutions rooted in the eighteenth-century Enlightenment, the colonial expansion of the liberal nation-state, and the rhetoric of democracy. In a witty and argumentative style, Werner critically analyzes today's art institutions and reframes the public's accepted view of them, exposing how their apparent success belies the troubling forces operating within them. He ultimately argues that the art museum we know and love may have already run its course. An engaging discourse structured as an informal gallery talk, Museum, Inc. is a thought-provoking and passionate polemic that offers ideas for a new, more democratic museum.
Museum, Inc. describes the new art conglomerates from an insider's perspective, probing how their roots run deep into corporate culture.
Author: Paul Werner
Publisher: Prickly Paradigm Press