The Global Art World. Audiences, Markets and Museums
Description
Table of Contents
Editorial
Andrea Buddensieg: EditorialIntroduction
Hans Belting: Contemporary Art as Global Art: A Critical EstimatePeter Weibel: Global Art: Rewritings, Transformations and Translations. Thoughts on the Project GAM
The New Geography of Art
Louisa Avgita: Marketing Difference: The Balkans on DisplayJoaquín Barriendos Rodríguez: Geopolitics of Global Art: The Reinvention of Latin America as a Geoaesthetic Region
Thomas Fillitz: Contemporary Art of Africa: Coevalness in the Global World
Miguel A. Hernández-Navarro: Contradictions in Time-Space: Spanish Art and Global Discourse
Jack Persekian: A Place to Go: The Sharjah Biennial
Laymert Garcia dos Santos: How Global Art Transforms Ethnic Art
Mapping Art Museums Today
Emanoel Araújo: The Museu AfroBrasil in São Paulo: A New Museum ConceptClaude Ardouin: Contemporary African Art in the British Museum
Savas¸ Arslan: Corporate Museums in Istanbul
T.J. Demos: The Tate Effect
Oscar Ho Hing-kay: Government, Business and People: Museum Development in Asia
Ángel Kalenberg: Museum Sceneries in Latin America
Ramón Lerma: A University Museum in Manila: The Ateneo Art Gallery
Justo Pastor Mellado: Memory in Chile and Paraguay: Two Art Museums in Latin America
Masaaki Morishita: Museums as Contact Zones: Struggles Between Curators and Local Artists in Japan
Colin Richards: Curating Contradiction: ‘Graft’ in the 2nd Johannesburg Biennale
Rafael Sámano Róo: A New Setting for the Contemporary: A University Museum in Mexico City
Karen Cordeiro Reiman: Addendum: The MuAC and Its Initial Encounter with Its Publics
Mirjam Shatanawi: Contemporary Art in Ethnographic Museums
Eugene Tan: Museum Politics and Nationalism in Singapore
To be ordered at: Hatje Cantz
Abstract
In May 2009, GAM published a second volume in its series of books dedicated to global art. It investigates the process of global art production and art consumption and the extent to which it is prompting a critical reevaluation of the notion of mainstream art. The project GAM – Global Art and the Museum was initiated by ZKM│Center for Art and Media Karlsruhe, Germany with the aim to explore the impact of art’s globalization on art museums, their audiences, and the art market. Whereas the art market, like its new clientele of collectors from many parts of the world, acts on a global scale, art museums, but also ethnographic museums, operate within a local framework where they encounter audiences from most diverse cultures and societies. The present volume probes deeper into the agenda presented in Volume One in the GAM series, Contemporary Art and the Museum. A Global Perspective, published in 2007 in that it incorporates a rich number of art institutions whose responses to globalization vary strongly from one place to the other, thus contradicting the impression of a nascent global conformism. The definition of global art hinges on a twofold distinction, as contemporary art differs both from modern art and so-called “world art”.The competition with popular mass media and with neo-ethnic traditions of art and crafts puts pressure on its claims to become mainstream art. Part one of the book treats a variety of general questions arising from the new geographical range of art production, while the various contributions in part two document the diversity of art museums with respect to their roles in a regional or urban culture.
