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Contemporary Art and the Cosmopolitan Imagination
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).
eBook
Biennials, Triennials, and documenta : the exhibitions that created contemporary art
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
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The new world disorder : challenges and threats in an uncertain world
\"This book describes and analyzes the source and nature of the phenomena that characterize new world disorder. These include domestic political crises with international consequences, disruptive regions, terrorism, climate change, deglobalization, and exponentially growing refugee movements\"-- Provided by publisher.
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International and cross-cultural management studies : a postcolonial reading
\"International and cross-cultural management has received very little critical attention to date. This book draws upon specific ideas from postcolonial theory to present a critique of these related academic fields. The authors argue that these management disciplines are Western discourses that exhibit historical as well as contemporary resonances with the vicissitudes of what might be broadly be called 'the colonial project'. The book explores alternative and perhaps more politically and morally constructive approaches to the question of the 'other' in late global capitalism\"--Provided by publisher
eBook
The utopian globalists
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.
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The End of Arrogance
The End of Arrogance makes a strong case for the end of the hegemony of American ideas in the foreign-policy sphere, examines what a more complex and diverse set of influences could create in terms of a future world order, and offers some important advice on how America can keep up in a more competitive world.
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