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This innovative new history examines in-depth how the growing popularity of large-scale international survey exhibitions, or 'biennials', has influenced global contemporary art since the 1950s. * Provides a comprehensive global history of biennialization from the rise of the European star-curator in the 1970s to the emergence of mega-exhibitions in Asia in the 1990s * Introduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression, from the Biennale de la Méditerranée in Alexandria, Egypt in 1955, the second Havana Biennial of 1986, New York's Whitney Biennial in 1993, and the 2002 Documenta11 in Kassel, to the Gwangju Biennale of 2014 * Explores the evolving curatorial approaches to biennials, including analysis of the roles of sponsors, philanthropists and biennial directors and their re-shaping of the contemporary art scene * Uses the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art

Contemporary Art and the Cosmopolitan Imagination explores the role of art in conceiving and reconfiguring the political, ethical and social landscape of our time. Understanding art as a vital form of articulation, Meskimmon argues that artworks do more than simply reflect and represent the processes of transnational and transcultural exchange typical of the global economy. Rather, art can change the way we imagine, understand and engage with the world and with others very different than ourselves. In this sense, art participates in a critical dialogue between cosmopolitan imagination, embodied ethics and locational identity. The development of a cosmopolitan imagination is crucial to engendering a global sense of ethical and political responsibility. By materialising concepts and meanings beyond the limits of a narrow individualism, art plays an important role in this development, enabling us to encounter difference, imagine change and make possible the new. This book asks what it means to inhabit a globalized world – how we might literally and figuratively make ourselves cosmopolitans, ‘at home’ everywhere. Contemporary art provides a space for this enquiry. Contemporary Art and the Cosmopolitan Imagination is structured and written through four ‘architectonic figurations’ – foundation, threshold, passage and landing – which simultaneously reference the built environment and the transformative structure of knowledge-systems. It offers a challenging new direction in the current literature on cosmopolitanism, globalisation and art. List of Illustrations List of Plates Introduction. Contemporary art: at home in a global world Chapter 1. Foundation – dynamic ground Chapter 2. Threshold – infinite generosity Chapter 3. Passage – transitive affects Chapter 4. Landing – imaginative engagement Afterword On Affirmative Criticality Selected Bibliography Index Dr. Marsha Meskimmon is Professor of Modern and Contemporary Art History and Theory at the University of Loughborough, UK. Her research centres on the work of women artists and expanded theoretical and critical perspectives on aesthetics, history and gendered subjectivity. She has authored a number of books and journal articles, including Women Making Art: History, Subjectivity, Aesthetics (2003) and We Weren’t Modern Enough: Women Artists and the Limits of German Modernism (1999).

In Global Inequality and American Foreign Policy in the 1970s, Michael Franczak demonstrates how Third World solidarity around the New International Economic Order (NIEO) forced US presidents from Richard Nixon to Ronald Reagan to consolidate American hegemony over an international economic order under attack abroad and lacking support at home. The goal of the nations that supported NIEO was to negotiate a redistribution of money and power from the global North to the global South. Their weapon was control over the major commodities—in particular oil—that undergirded the prosperity of the United States and Europe after World War II. Using newly available archival sources, as well as interviews with key administration officials, Franczak reveals how the NIEO and \"North-South dialogue\" negotiations brought global inequality to the forefront of US national security. The challenges posed by NIEO became an inflection point for some of the greatest economic, political, and moral crises of 1970s America, including the end of golden age liberalism and the return of the market, the splintering of the Democratic Party and the building of the Reagan coalition, and the rise of human rights in US foreign policy in the wake of the Vietnam War. The policy debates and decisions toward the NIEO were pivotal moments in the histories of three ideological trends—neoliberalism, neoconservatism, and human rights—that formed the core of America's post–Cold War foreign policy.

During the Cold War, thousands of musicians from the United States traveled the world, sponsored by the U.S. State Department’s Cultural Presentations program. Performances of music in many styles—classical, rock ’n’ roll, folk, blues, and jazz—competed with those by traveling Soviet and mainland Chinese artists, enhancing the prestige of American culture. These concerts offered audiences around the world evidence of America’s improving race relations, excellent musicianship, and generosity toward other peoples. Through personal contacts and the media, musical diplomacy also created subtle musical, social, and political relationships on a global scale. Although born of state-sponsored tours often conceived as propaganda ventures, these relationships were in themselves great diplomatic achievements and constituted the essence of America’s soft power. Using archival documents and newly collected oral histories, Danielle Fosler-Lussier shows that musical diplomacy had vastly different meanings for its various participants, including government officials, musicians, concert promoters, and audiences. Through the stories of musicians from Louis Armstrong and Marian Anderson to orchestras and college choirs, Fosler-Lussier deftly explores the value and consequences of \"musical diplomacy.\"

Challenging the standard narrative of Interwar International History, this account establishes the causal relationship between the global political and economic crises of the period, and offers a radically new look at the role of ideology, racism and the leading liberal powers in the events between the First and Second World Wars.

From the end of the nineteenth century through the first decades of the twentieth, the United States experienced unprecedented structural change. Advances in communication and manufacturing technology brought about a revolution for major industries such as railroads, coal, and steel. The still-growing nation established economic, political, and cultural entanglements with forces overseas. Local strikes in manufacturing, urban transit, and construction placed labor issues front and center in political campaigns, legislative corridors, church pulpits, and newspapers of the era. The Long Gilded Ageconsiders the interlocking roles of politics, labor, and internationalism in the ideologies and institutions that emerged at the turn of the twentieth century. Presenting a new twist on central themes of American labor and working-class history, Leon Fink examines how the American conceptualization of free labor played out in iconic industrial strikes, and how \"freedom\" in the workplace became overwhelmingly tilted toward individual property rights at the expense of larger community standards. He investigates the legal and intellectual centers of progressive thought, situating American policy actions within an international context. In particular, he traces the development of American socialism, which appealed to a young generation by virtue of its very un-American roots and influences. The Long Gilded Ageoffers both a transnational and comparative look at a formative era in American political development, placing this tumultuous period within a worldwide confrontation between the capitalist marketplace and social transformation.

THE UTOPIAN GLOBALISTS \"Crossing continents, historical periods and cultural genres, Jonathan Harris skilfully traces the evolution of utopian ideals from early modernism to the spectacularised and biennialised (or banalised as some would say) contemporary art world of today.\" Michael Asbury, University of the Arts, London The Utopian Globalists is the second in a trilogy of books by Jonathan Harris examining the contours, forces, materials and meanings of the global art world, along with its contexts of emergence since the early twentieth century. The first of the three studies, Globalization and Contemporary Art (Wiley-Blackwell, 2011), anatomized the global art system through an extensive anthology of over 30 essays contextualized through multiple thematic introductions. The final book in the series, Contemporary Art in a Globalized World (forthcoming, Wiley-Blackwell), combines the historical and contemporary perspectives of the first and second books in an account focused on the 'mediatizations' shaping and representing contemporary art and its circuits of global production, dissemination and consumption. This innovative and revealing history examines artists whose work embodies notions of revolution and human social transformation. The clearly structured historical narrative takes the reader on a cultural odyssey that begins with Vladimir Tatlin's constructivist model for a 'Monument to the Third International' (1919), a statement of utopian globalist intent, via Picasso's 1940s commitment to Soviet communism and John and Yoko's Montreal 'Bedin', to what the author calls the 'late globalism' of the Unilever Series at London's Tate Modern. The book maps the ways artists and their work engaged with, and offered commentary on, modern spectacle in both capitalist and socialist modernism, throughout the eras of the Russian Revolution, the Cold War and the increasingly globalized world of the past 20 years. In doing so, Harris explores the idea that the utopian -globalist lineage in art remains torn between its yearning for freedom and a deepening identification with spectacle as a media commodity to be traded and consumed.

Port cities were the means through which cultural and economic exchange took place between continental societies and the maritime world. In examining the ports of Brazil, the Caribbean and West Africa, this volume will provide fresh insight into the meaning of the 'First Globalisation'.

In Cold War historiography, the 1960s are often described as a decade of mounting diplomatic tensions and international social unrest. At the same time, they were a period of global media revolution: communication satellites compressed time and space, television spread around the world, and images circulated through print media in expanding ways. Examining how U.S. policymakers exploited these changes, this book offers groundbreaking international research into the visual media battles that shaped America's Cold War from West Germany and India to Tanzania and Argentina.

Developing a knowledge of the Spanish-Italian connection between right-wing extremist groups is crucial to any detailed understanding of the history of fascism. Transnational Fascism in the Twentieth Century allows us to consider the global fascist network that built up over the course of the 20th century by exploring one of the significant links that existed within that network. It distinguishes and analyses the relationship between the fascists of Spain and Italy at three interrelated levels - that of the individual, political organisations and the state - whilst examining the world relations and contacts of both fascist factions, from Buenos Aires to Washington and Berlin to Montevideo, in what is a genuinely transnational history of the fascist movement. Incorporating research carried out in archives around the world, this book delivers key insights to further the historical study of right-wing political violence in modern Europe.