Contemporary art is now judged as a historical experience commencing from the end of world war II, in 1945. The current crop of artists is contributing their mite to the highly multifaceted and globalized economy of cultural packages. The year 1945 was turning point, because after the war, and the establishment of American superiority, the cultural political and economic power shifted partially from Europe to the US. It was not surprising because the erstwhile European colonialism also waned considerably. A new generation of artists has evolved around this time, who consistently overturned the existing modernist practices and established new tools for dealing with contemporary art in Europe and North America, leading to what Guy Debord described as “society of the spectacle”, which gives prominence to the visual arts, which in turn dictate the various cultural practices, and in general, specify the way people interpret, contest or maneuver contemporary life (Amelia, J., 2006).
Assuming that, post world war II, contemporary arts is now 60 years old, it is indeed a surprise that so much of history has come to pass with such speed and density of events during this short period in world history. This has necessitated the need for developing the capabilities of understanding and appreciating the visual arts since 1945. These facts serve as a vital addition to the existing texts on social, aesthetic and chronological development of contemporary art. Most of these surveys concentrated on the Euro-American art since 1945, with just a little attention to non-European American art developments and history (Amelia, J., 2006).
As art continues to bargain on its affiliation to globalization it wonders what consequences globalization will have on it. We also wonder whether art history could go global, and if so, what it will look like and who would be running the show. This subject will need to cover every aspect of space, travel, national identity and intra-cultural impacts of the day (Amelia, J., 2006).
Table of Contents
1. Introduction
2. Interaction
3. Art criticism’s History
4. Art Museums and the Global
5. Artists Transcending National Identity
6. Tate Britain
7. Global Market
8. The Rise of the Biennale
9. Post-Communism In Art
10. Liberation
11. Aboriginal Art
12. ‘World Art’ and the Future of Art History
13. Some Arguments For And Against Global Art History
Objectives and Topics
This work explores the feasibility and implications of a globalized art history in the 21st century. It examines the historical shift from Euro-American dominance in the arts toward a more diverse, global perspective, while addressing the challenges, market impacts, and institutional obstacles that such a transition entails.
- The critique of Eurocentrism in traditional art history and institutional frameworks.
- The influence of globalization, the art market, and the internet on contemporary art production.
- The role of international biennales and exhibitions in fostering cross-cultural dialogues.
- The complex relationship between national identity, architecture, and globalized art practices.
Excerpt from the book
Art criticism’s History
Simultaneously, a range of arguments about criticism of art history, erupted. Some people like Dave Hickey held that art criticisms history is all about what the creative writers publish, and are appreciated by the critics. On the other hand, critics like Steve Melville feel that art criticism need not have a history because it will depend entirely on the individual who is judging it. Another insight into this is that art criticism may be closer to philosophy than history, as it is influenced, through judgment, as a non-historical dimension. To be frank, not sufficient literary justice has been accorded to this subject, even though there is plenty of scope and demand for it. Some people opine that the art history criticism should be chronicled as a period document as it is an example of a subject where the artwork itself is not saturated by art history (James, et al., 2008).
Summary of Chapters
Introduction: Outlines the historical context of contemporary art post-1945 and the shift in cultural influence from Europe to the US.
Interaction: Discusses the rise of cross-cultural scholarship and the impact of the end of colonial empires on artistic exchanges.
Art criticism’s History: Examines debates regarding the role and necessity of a historical perspective in art criticism.
Art Museums and the Global: Analyzes the expansion of major museums beyond their traditional Euro-American geographic focus.
Artists Transcending National Identity: Explores how contemporary artists navigate or evade the constraints of national agendas in their work.
Tate Britain: Highlights how specific institutional displays ignite critical discussions on migration and national identity.
Global Market: Looks at the rapid growth of the contemporary art market and the increasing influence of new global players like China.
The Rise of the Biennale: Tracks the proliferation of biennales worldwide as platforms for international cross-cultural dialogue.
Post-Communism In Art: Analyzes the emergence of post-communist art as a significant movement after 1989.
Liberation: Discusses how artists have shifted focus toward themes of resistance, migration, and displacement in a globalized era.
Aboriginal Art: Addresses the tensions arising when geographically specific art is evaluated through Western modernist lenses.
‘World Art’ and the Future of Art History: Considers attempts to create a panoramic view of global art history that incorporates diverse national histories.
Some Arguments For And Against Global Art History: Debates whether current art history remains trapped in Euro-American-centric models despite globalization efforts.
Keywords
Globalization, Art History, Eurocentrism, Contemporary Art, Modernism, Cultural Identity, Art Market, Biennale, Post-colonialism, Architecture, Iconology, Institutional Critique, Migration, World Art, Cultural Diversity.
Frequently Asked Questions
What is the core subject of this publication?
The work investigates the possibility and the current state of a truly global art history, examining how the field moves beyond traditional Western-centric models.
What are the central themes discussed?
Key themes include the critique of Eurocentrism, the impact of globalization on museums and art markets, the role of international biennales, and the challenges of defining art history in a post-colonial world.
What is the primary research question?
The central inquiry is whether a global art history is possible and how the discipline can reconcile its historical ties to Western nation-states with the reality of modern globalized cultures.
Which methodologies are employed in this study?
The text employs a comparative, analytical approach, examining existing literature, institutional practices, and contemporary historical shifts to critique traditional art history frameworks.
What does the main body of the work cover?
It covers diverse topics ranging from the evolution of art criticism and the global expansion of museum collections to the impact of geopolitical events like the fall of the Berlin Wall on artistic production.
Which keywords best characterize this work?
Keywords include Globalization, Art History, Eurocentrism, Cultural Identity, Art Market, and Post-colonialism.
How does the author view the 'McGuggenheim' phenomenon?
The author identifies this as a symbol of the aggressive, large-scale geographic expansion of major Western museums, which creates both opportunities and controversial challenges regarding global art collections.
What is the significance of the comparison between Doxiadis and Panofsky?
It highlights the divide between architectural practice, which often engages with global realities and experience, and traditional art history, which is often perceived as being tied to rigid, Eurocentric iconographic conventions.
- Quote paper
- Dr Kelly Clarkson (Author), 2012, The possibility of a Global Art History, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/213219
