Global and World Art in the Practice of the University Museum provides new thinking on exhibitions of global art and world art in relation to university museums. Taking The Fowler Museum at UCLA, USA, as its central subject, this edited collection traces how university museum practices have expanded the understanding of the 'art object' in recent years. It is argued that the meaning of cultural objects infused with the heritage and identity of 'global culture' has been developed substantially through the innovative approaches of university scholars, museum curators, and administrators since the latter part of the twentieth century. Through exploring the ways in which universities and their museums have overseen changes in the global context for art, this edited collection initiates a larger dialogue and inquiry into the value and contribution of the empirical model. The volume includes a full-colour photo essay by Marla C. Berns on the Fowler Museum's 'Fowler at Fifty' project, as well as contributions from Donald Preziosi, Catherine M. Cole, Lothar von Falkenhausen, Claire Farago, Selma Holo, and Gemma Rodrigues. It is important reading for professionals, scholars and advanced students alike.

Global and World Art in the Practice of the University Museum provides new thinking on exhibitions of global art and world art in relation to university museums. Taking The Fowler Museum at UCLA, USA, as its central subject, this edited collection traces how university museum practices have expanded the understanding of the 'art object' in recent years. It is argued that the meaning of cultural objects infused with the heritage and identity of 'global culture' has been developed substantially through the innovative approaches of university scholars, museum curators, and administrators since the latter part of the twentieth century. Through exploring the ways in which universities and their museums have overseen changes in the global context for art, this edited collection initiates a larger dialogue and inquiry into the value and contribution of the empirical model. The volume includes a full-colour photo essay by Marla C. Berns on the Fowler Museum's 'Fowler at Fifty' project, as well as contributions from Donald Preziosi, Catherine M. Cole, Lothar von Falkenhausen, Claire Farago, Selma Holo, and Gemma Rodrigues. It is important reading for professionals, scholars and advanced students alike.

An unprecedented work on contemporary art as viewed through a global lens, offering cutting-edge ideas for decolonizing the art world and its global community A Companion to Contemporary Art in a Global Framework explores the ways the fine arts, performing arts, curation, cultural studies, and art history have attempted to situate themselves in a more global framework. Offering analyses of the successes and setbacks of those aiming to globalize the art world, this innovative volume presents a new and exciting way of considering art in its global contexts. Essays by an international panel of leading scholars and practicing artists assert that what we talk about as ‘art’ is essentially a Western concept, thus any attempts at understanding art in a global framework requires a revising of established conceptual definitions. Organized into three sections, this work first reviews the history and theory of the visual arts since 1980 and introduces readers to the emerging area of scholarship that seeks to place contemporary art in a global framework. The second section traces the progression of recent developments in the art world, including the voices of scholars as well as artists in exploring the significance of each of the four decades since 1980. The final section addresses a wide range of key themes in contemporary art over this period, such as the fundamental institutions and ontologies of art practice, and the interactions between art, politics, and the public sphere. This exciting new work: Offers offer a wholly new approach to methods for exploring global dimensions of art Covers many fields of the contemporary visual art world, including performance art, public art, curation, and archiving Analyses the grounding of art and its institutions in European colonialism, along with parallel structures of Western capitalism, imperialism, and nationalism Discusses the challenges encountered by scholars and artists who have attempted to globalize the art world as related to indigeneity, gender, sexuality, race, colonialism, ethnicity, and diaspora A Companion to Contemporary Art in a Global Framework is essential reading for undergraduate and graduate students, scholars, researchers, and general readers interested in exploring global art beyond the traditional Euro-American context.

This book addresses the politics of borders in the era of global art by exploring the identification of Chinese artists by location and exhibition. Focusing on performative, body-oriented video works by the post-1989 generation, it tests the premise of genealogical inscription and the ways in which cultural objects are attributed to the artist's residency, homeland or citizenship rather than cultural tradition, style or practice. Acknowledging historical definitions of Chineseness, including the orientalist assumptions of the past and the cultural-mixing of the present, the book's case studies address the paradoxes and contradictions of representation. An analysis of the historical matrix of global expositions reveals the structural connections among art, culture, capital and nation. -- .

This book addresses the politics of borders in the era of global art by exploring the identification of Chinese artists by location and exhibition. Focusing on performative, body-oriented video works by the post-1989 generation, it tests the premise of genealogical inscription and the ways in which cultural objects are attributed to the artist's residency, homeland or citizenship rather than cultural tradition, style or practice. Acknowledging historical definitions of Chineseness, including the orientalist assumptions of the past and the cultural-mixing of the present, the book's case studies address the paradoxes and contradictions of representation. An analysis of the historical matrix of global expositions reveals the structural connections among art, culture, capital and nation. -- .

This special issue is dedicated to the memory of Okwui Enwezor (1963-2019), the first African and Black curator and director of documenta11 (2002) and the 56th Venice Biennale (2015). The articles and personal tributes collected here recognize the profound impact left by the Nigerian art historian, curator, poet, and educator who transformed the curatorial present of global exhibitions and anticipated their decolonizing futures. Enwezor created political platforms and artistic manifestos that not only changed the form and function of global exhibitions, but also opened up new ways to align activism with aesthetic practices, performative displays, and curatorial initiatives. Contributors-art historians and critics, curators, and artists-address how Enwezor's approach to the exhibition as a "space of public discourse" intersects with theories of affect, indigeneity, race, queer studies, and feminism. Contributors: David Adjaye, Hoor Al Qasimi, Natasha Becker, Naomi Beckwith, Maria Magdalena Campos-Pons, Jody B. Cutler-Bittner, Jane Chin Davidson, Shane Doyle, Tamar Garb, Kendell Geers, Salah M. Hassan, Amelia G. Jones, Abdellah Karroum, Monique Kerman, Mohammed Ibrahim Mahama, Julie Mehretu, Susette S. Min, Wangechi Mutu, Sabine Dahl Nielsen, Chika Okeke-Agulu, Alpesh Kantilal Patel, Anne Ring Petersen, Yinka Shonibare, Penny Siopis, Mary Ellen Strom, Przemyslaw Strozek, Mikhael Subotzky