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Heritage and Debt - Art in Globalization (Hardcover)
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Heritage and Debt - Art in Globalization (Hardcover)
Series: October Books
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How global contemporary art reanimates the past as a resource for
the present, combating modern art's legacy of Eurocentrism. If
European modernism was premised on the new-on surpassing the past,
often by assigning it to the "traditional" societies of the Global
South-global contemporary art reanimates the past as a resource for
the present. In this account of what globalization means for
contemporary art, David Joselit argues that the creative use of
tradition by artists from around the world serves as a means of
combatting modern art's legacy of Eurocentrism. Modernism claimed
to live in the future and relegated the rest of the world to the
past. Global contemporary art shatters this myth by reactivating
various forms of heritage-from literati ink painting in China to
Aboriginal painting in Australia-in order to propose new and
different futures. Joselit analyzes not only how heritage becomes
contemporary through the practice of individual artists but also
how a cultural infrastructure of museums, biennials, and art fairs
worldwide has emerged as a means of generating economic value,
attracting capital and tourist dollars. Joselit traces three
distinct forms of modernism that developed outside the West, in
opposition to Euro-American modernism: postcolonial, socialist
realism, and the underground. He argues that these modern
genealogies are synchronized with one another and with Western
modernism to produce global contemporary art. Joselit discusses
curation and what he terms "the curatorial episteme," which,
through its acts of framing or curating, can become a means of
recalibrating hierarchies of knowledge-and can contribute to the
dual projects of decolonization and deimperialization.
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