Globalization and Contemporary Art by Harris, Jonathan -- Read -- Imperial Library of Trantor

Index

Cover Dedication Title page Copyright page List of Illustrations Notes on Contributors Introduction: Globalization and Contemporary Art: A Convergence of Peoples and Ideas

What is Globalization? Contemporary Art Studied as a Global Phenomenon Structure, Sequence and Concepts

Part 1: Institutions

Introduction 1 Real Time and Real Time at The Israel Museum, Jerusalem

“Beyond the Limitations of Borders” Simmel and Intifada Re:Real Time Growth, Change, Uncertainty Growth, Change, Uncertainty, Deconstructed Growth, Change, Uncertainty, Reconstructed Moving On

2 Peddling Time When Standing Still

Now is the Time Killing Time Battling for the Underfoot of Time Witnesses Who Know Too Much Fleshing Time Descenders Coda: Indigenes and Exiles

3 Homogeneity or Individuation?

Death by Homogenization Recognition Ownership Reclamation Response

4 Museums in the Colonial Horizon of Modernity

Epistemic and Aesthetic Disobedience: On Modernity/Coloniality and the Decolonial Option Museums, Accumulation of Meaning and Accumulation of Money The Role of Museums in a Corporate Oriented World and the Decolonial Option What is Fred Wilson up to? Fred Wilson and the Decolonial Option

5 Africus Johannesburg Biennale 1995

Introduction Transition Stalled Politics of Representation Conclusion

Part 2: Formations

Introduction 6 Post-Crisis

The Crisis The Urban Change The High Culture Tour The Rupture of 2001 Art’s Collectivization

7 Evolution within the Revolution

The 1920s: The Vanguardia and Afrocubanismo Afro-Cuban Collectives, 1975 to 1985 Collectives Take to the Streets, 1984–1990 The 1990s and Beyond Conclusion

8 Ka Muhe’e, He i’a Hololua

“Traditional” Kanaka Maoli Culture and Art Colonization, Resistance and the Emergence of Kanaka Maoli Art Joseph Kaho’oluhi Nawahi: Kanaka Maoli “Artist” Kanaka Maoli Art: A “Fish” that Swims in Two Directions Contemporary Kanaka Maoli Art: A Journey for Equity, Access and Understanding Conclusion

9 Aboriginal Cosmopolitans

Cosmopolitans or Victims? Age of Fire The Age of Water

10 Working to Learn Together

Introduction Specific Groups

Part 3: Means and Forces of Production

Introduction 11 The Two Economies of World Art

World Art The Art Pyramid Free or Equal? The Two Economies

12 The Spectacle and Its Others

Collisions: Economic Immigrants and Popular Culture post America’s 9/11 Ideologies: Manual Labor, Immaterial Labor, and the Screen Histories: Local Struggles, Global Defeats Complicities: What Extreme Conditions of Labor Can Do for You Risks: Art, Labor, Knowledge, and Social Relations in Transnational Space For, and About, Now

13 Cultural Mercantilism

New York, 1958 Modernism and Imperialism Cultural Mercantilism

14 Audiovisionaries of the Network Planet

Part 4: Identifications

Introduction 15 Contemporary Asian Art and the West 16 World Pictures: Globalization and Visual Culture

Scholium

17 Leaves of Grass and Real Allegory 18 Collaboration in Art and Society

The Global Need for Collaboration Four Characteristics of Collaborative Practice Mediation and the Emergence of the New Conclusion

Part 5: Forms

Introduction 19 Globalization Questions and Contemporary Art’s Answers 20 Political Islam and the Time of Contemporary Art

Eating Grass (2003) The Cave (2004) Read (2007)

21 Displaced Models 22 White Man Got No Dreaming 23 The Discourse of (L)imitation

“Japan’s Glory Upheld by Imitators” The Historical Contexts of the Imitation Discourse “Similar yet Dissimilar”: Group “I” vs. Oldenburg vs. Sekine

Part 6: Reproduction

Introduction 24 Art and Postcolonial Society 25 Why Art History is Global

Disciplines that Might Help Understand Contemporary Art An Overview of the Recent Literature Two Arguments Regarding Art History Conclusion

26 The Agency of the Historian in the Construction of National Identity in Colombian Architecture

A Necessary Biographical Excursus Architecture According to the History Book Architecture Outside the Book: Unwritten Histories

27 Aboriginal Art and Australian Modernism 28 Gesturing No(w)here

The Local is the Global The Global is the Local Becoming Common

Part 7: Organization

Introduction 29 The Emergence of Powerhouse Dealers in Contemporary Art

The Castelli Factor Museum Quality The Circulation of Contemporary Art Twenty-Five Power Dealers of Contemporary Art Post-Gagosian

30 The Art Market in Transition, the Global Economic Crisis, and the Rise of Asia 31 Global Contemporary?

Vilnius, Lithuania: The Black Market Worlds Community (Club) From the Second World to New Lithuania Hyper-identity: Designing the Shanghai Biennale Contemporary Art Institutional Concepts and Venues Claiming History Cosmopolitan Contemporary Art

32 “Institutionalized Globalization,” Contemporary Art, and the Corporate Gulag in Chile

The Guggenheim Museum in New York versus the Museo de la Solidaridad Chile The Censorship of Art in Chile by Military Forces Allied with the Guggenheim Museum’s Board of Trustees The Introduction of Neoliberal Economic Policies in Chile by the Military Junta Reflections on Neoliberalism, Globalization, and International Art Exhibits

33 Culture, Neoliberal Development, and the Future of Progressive Politics in Southeastern Europe

Select Bibliography Illustration Credits Index

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