Seminar paper from the year 2012 in the subject History -
Miscellaneous, grade: A, University of Cambridge, language:
English, comment: very good., abstract: Contemporary art is now
judged as a historical experience commencing from the end of world
war II, in 1945. The current crop of artists is contributing their
mite to the highly multifaceted and globalized economy of cultural
packages. The year 1945 was turning point, because after the war,
and the establishment of American superiority, the cultural
political and economic power shifted partially from Europe to the
US. It was not surprising because the erstwhile European
colonialism also waned considerably. A new generation of artists
has evolved around this time, who consistently overturned the
existing modernist practices and established new tools for dealing
with contemporary art in Europe and North America, leading to what
Guy Debord described as "society of the spectacle," which gives
prominence to the visual arts, which in turn dictate the various
cultural practices, and in general, specify the way people
interpret, contest or maneuver contemporary life (Amelia, J.,
2006). Assuming that, post world war II, contemporary arts is now
60 years old, it is indeed a surprise that so much of history has
come to pass with such speed and density of events during this
short period in world history. This has necessitated the need for
developing the capabilities of understanding and appreciating the
visual arts since 1945. These facts serve as a vital addition to
the existing texts on social, aesthetic and chronological
development of contemporary art. Most of these surveys concentrated
on the Euro-American art since 1945, with just a little attention
to non-European American art developments and history (Amelia, J.,
2006). As art continues to bargain on its affiliation to
globalization it wonders what consequences globalization will have
on it. We also wonder whether art history could go global, and if
so, what i
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