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Ces 18 textes de référence traduits en français d'artistes, historiens d'art, chercheurs et commissaires d'exposition ont nourri la pensée critique et théorique dans le champ de l'art depuis trente ans. Ils abordent les thématiques de la globalisation, du postcolonialisme et du postcommunisme, des modernismes, de l'universalisme et de l'eurocentrisme. Rassemblés dans ce volume par Christine Macel, ils redessinent le paysage intellectuel, académique et institutionnel de l'art dans un contexte globalisé.
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"The cultural effects of globalization constitute one of the most important challenges for the discipline of art history today. The aim of this publication is to take a critical look at art historical narratives. Based on transcultural object biographies, the volume brings together analyses of objects and images that circulate in transcultural contact zones: their histories of origin, circulation and perception slice through space and time. The histories of these objects and images thus demonstrate in exemplary fashion how knowledge and understanding can be generated, communicated or also challenged in cultural contact zones. Hence, the publication is designed as a methodological contribution to a transcultural art and cultural history. It is also conceived as an instrument for teaching and contains a critical-discursive glossary of key-terms that combines theory and practice of transcultural art history".
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"The cultural effects of globalization constitute one of the most important challenges for the discipline of art history today. The aim of this publication is to take a critical look at art historical narratives. Based on transcultural object biographies, the volume brings together analyses of objects and images that circulate in transcultural contact zones: their histories of origin, circulation and perception slice through space and time. The histories of these objects and images thus demonstrate in exemplary fashion how knowledge and understanding can be generated, communicated or also challenged in cultural contact zones. Hence, the publication is designed as a methodological contribution to a transcultural art and cultural history. It is also conceived as an instrument for teaching and contains a critical-discursive glossary of key-terms that combines theory and practice of transcultural art history".
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"Re-envisioning the Contemporary Art Canon: Perspectives in a Global World seeks to dissect and interrogate the nature of the present-day art field, which has experienced dramatic shifts in the past 50 years. In discussions of the canon of art history, the notion of 'inclusiveness', both at the level of rhetoric and as a desired practice is on the rise and gradually replacing talk of 'exclusion', which dominated critiques of the canon up until two decades ago. The art field has dramatically, if insufficiently, changed in the half-century since the first protests and critiques of the exclusion of 'others' from the art canon. With increased globalization and shifting geopolitics, the art field is expanding beyond its Euro-American focus, as is particularly evident in the large-scale international biennales now held all over the globe. Are canons and counter-canons still relevant? Can they be re-envisioned rather than merely revised? Following an introduction that discusses these issues, thirteen newly commissioned essays present case studies of consecration in the contemporary art field, and three commissioned discussions present diverse positions on issues of the canon and consecration processes today. This volume will be of interest to instructors and students of contemporary art, art history, and museum and curatorial studies"--The publisher.
Art and globalization --- Art and globalization --- Art and globalization. --- Canon (Art). --- Canon (Art). --- History --- History --- 1900-2099.
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Le XXIe siècle a fait de l'Art contemporain un marqueur de puissance, mesurant le degré d'émancipation d'un pays, son pouvoir d'attraction et sa place dans le monde. Étudiant en profondeur le rôle des différents acteurs (artistes, collectionneurs et musées), Aude de Kerros analyse l'évolution des liens entre arts plastiques et géopolitique, de 1945 à nos jours. Elle décrit notamment avec précision les événements marquants de la dernière décennie et leurs conséquences : la mondialisation des transactions, la transparence du marché de l'art - dévoilé par les nouvelles technologies de l'information -, l'entrée sur le marché du monde non occidental, toutes choses troublant l'ordre établi et défiant les prédictions d'une uniformisation pacifique et rentable de l'art par le monde occidental. Cet ouvrage très documenté produit une réflexion vivante : il souligne l'évolution des méthodes d'influence des différentes puissances tout en décrivant la construction du système international de l'art, parvenu au contrôle complet du marché, mais aussi le processus de son dépérissement, dû à l'enfermement. Comment résister à la permanence des civilisations et à leur capacité d'adaptation, en même temps qu'à la révolution technologique qui permet l'émergence d'autres connections ? C'est d'un nouveau monde de l'art dont il est question, aux contours inédits.
Art --- Art and globalization --- Art and society
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Urbanization. --- Art and globalization. --- Art and society.
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"While the connected, international character of today's art world is well known, the eighteenth century too had a global art world. Eighteenth-Century Art Worlds is the first book to attempt a map of the global art world of the eighteenth century. Twenty-one essays from a distinguished group of scholars explore both cross-cultural connections and local specificities of art production and consumption in Africa, the Americas, Asia, and Europe. The result is an account of a series of interconnected and asymmetrical art worlds that were well developed in the eighteenth century. Capturing the full material diversity of eighteenth-century art, this book considers painting and sculpture alongside far more numerous prints and decorative objects. Analyzing the role of place in the history of eighteenth-century art, it bridges the disciplines of art history and cultural geography, and draws attention away from any one place as a privileged art-historical site, while highlighting places such as Manila, Beijing, Mexico City, and London as significant points on globalized map of the eighteenth-century art world. Eighteenth-Century Art Worlds combines a broad global perspective on the history of art with careful attention to how global artistic concerns intersect with local ones, offering a framework for future studies in global art history."--Bloomsbury Publishing.
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