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ARH6930 Globalization in Art

Dr. Pamela Brekka


Nicole McCauley
Annotated Bibliography
*I consider all of the following entries as beneficial to research within the contexts of art, history, and
globalization, as they offer a contemporized view in the ways of diversity, culture, and interpretation.
Alberro, Alex (2009). Questionnaire on the contemporary: Alex Alberro. October, (130), pp. 5560.

Alex Alberro, Professor of Art History, uses his interest in modern and contemporary art to
formulate an argument in favor of a new period of art. Alberro uses the origins or history of
contemporary art and the emergence of globalization and neoliberalism in the late 1980s to
entertain the notion that the contradictory circumstances surrounding the causality of time and
linear history in art alongside the overall awareness of the current and ever-changing state of
contemporary art is what makes it a category in its own right. Like others that specialize in the
question of the contemporary and its existence in history, Alberro believes that the idea of
contemporary art as a new period in art history has been coming together for some time.

Alpers, Svetlana (1997). The Making of History of Art 15. Art Journal: Rethinking the
Introductory Art History Survey, 54(3), pp. 62-65.

Svetlana Alpers is a Professor of art history and regular contributor to the controversial
conversation of the possibility of a new approach to teaching and representing art history. She
uses a specific example of changes made to an art history program at the University of Berkeley
to formulate a discussion around the possibility of removing the linear and chronological
approaches to the art history survey. Alpers joins many others in her pursuit to modify the
presentation of art history to a more contemporary and synchronous organization of artworks.
Alpers provides a framework for possible reconstructions to the Italian-centered, memorization
organization of the art history survey to a class based on looking, listening, reading, and writing
about fewer and more diversified works of art.

Appadurai, Arjun (2000). Grassroots globalization and the research imagination. Public Culture
12(1), pp. 1-21.

Arjun Appadurai is a Professor of anthropology, specializing in social-cultural anthropology and


the effects of globalization on virtually every interaction of world societies today. In his article,
Appadurai uses the anxiety associated with change and the unknown to present a complex
arrangement of questions surrounding the current practices of globalization, the debates
surrounding it, the power of capital, the incidence of postcolonial ideals in trade and politics,
and the desire to protect cultural values in this era of openness (p. 3). He uses the concept of
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grassroots globalization to create a defense for the general public and proposes a rebalancing
between the powers of financial and political discourse and the collaborative effort to teach and
learn about globalization.
Belting, Hans (2009). Contemporary art as global art: A critical estimate. In Hans Belting and
Andrea Buddensieg (Eds.), The Global Art World: Audiences, Markets and Museums, Hatje
Cantz Verlag, Ostfildern.

As an art historian and advisor of the GAM (Global Art and the Museum) project, Belting makes
his stand against outdated ideas surrounding colonialist world art and uses examples from the
Middle East as his battle ground to fight for contemporary global art and to reclaim equality in
the art market. Belting presents a general view of a privatized sector that is frantically retracing
their steps in the categorization of non-Western art as primitive or even the previous
disregard of diverse cultural creations that were not deemed worthy of recognition in the
international art markets. He builds on his examples to show the departure of art from the
modern concept of a universal model and presents a view of the globalization of art as a catalyst
for removing art from the traditional holds of art history.

Belting, Hans (Ed.). (2007). Why the Museum? New Markets, Colonial Memories, and Local
Politics. Proceedings of ZKM conference 07: Where is Art Contemporary? The Global Challenge
of Art Museums II. Karlsruhe, Germany: Center for Art and Media. Retrieved from:
http://www.globalartmuseum.de/site/home

Hans Belting presents global art as synonymous with contemporary art and argues their
difference from the concept of world art by investigating the histories, practices, and roles of art
museums, art markets, art collectors, and art audiences in formulating the practices of
globalization. Belting presents modern art as art based on itself and compares it to
contemporary art as based on external subject matter, drawing out the dissipation of a
centralized aim that has been occurring since the end of modernity. The unpredictable nature
of global or contemporary art makes it a slippery fish in the pond of established art practices,
resulting in a chaotic display of alternate meanings and understandings. Belting wraps up his
argument by presenting a challenge to museums to help balance the powers between sharing
globally and owning locally.

Bhabha, Homi (1984). Of mimicry and man: The ambivalence of colonial discourse.
October, 28, p. 126.

Homi Bhabha is a Professor of English and American Literature and Director of Humanities at
Harvard University and uses examples from historical writings and an analysis of mimicry, as well
as its place between the unconscious and preconscious nature of human thought, to expose the
colonial discourse that has driven the subjection of cultures throughout history. Bhabha
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investigates the instances of mimicry among people and the increasing nature of becoming
obscured in a melting pot of values, directly related to the practices and strategies of historically
egocentric and paranoid colonial powers coupled with the inevitable rise of globalization.
Bourriaud, Nicolas (2002). Postproduction: Culture as a screenplay: How art reprograms the
world. New York, NY: Lukas & Sternberg.

Nicolas Bourriaud uses his experiences as a writer, art critic, and curator to formulate his
extensive contribution of theories about contemporary art and its role in in societies that are
engrossed in the rituals of audiovisual postproduction. Bourriaud provides insight into the
pattern of creating objects based on other objects, which are in turn, based on other objects,
pointing out the blurring of originality in a cultural mixing of creations and value systems.
Bourriaud discusses the reprogramming of audiovisual artworks; away from the status of
singular artistic vision and towards the role of an active and evolving ambassador for
contemporary art and practice. He uses the programmer and the DJ to supply examples of
sampling, appropriation, and reprocessing to inquire if contemporary art is abolishing ownership
of artistic production and moving cultures towards notions of free access, what Bourriaud refers
to as a communism of form.

Branham, Joan (1994/1995). Sacrality and aura in the museum: Mute objects and articulate
space. The Journal of the Walters Art Gallery Vol. 52/53, pp. 33-47.

Joan Branham, professor of art history at Providence College, presents her concerns about the
unavoidable changes in representation and interpretation that occur when sacred or religious
objects are removed from their original site and displayed within a new space. Branhams
argument against the removal and relocation practices of museums is profound and wellsupported by the musings of a plethora of art historians and curatory experts. Detailed
examples from the Rockefeller Museum in Jerusalem, the Walters Art Gallery in Baltimore, and
the U.S. Holocaust Memorial Museum in Washington D.C. highlight her distress, provide insight
into the underworld of museum intent, and probe the question: is the meaning or value of an
object threatened when it is removed from its original space?

Branham, Joan (1992). Sacred space under erasure in ancient synagogues and early churches.
The Art Bulletin 74(3), pp. 375-394.

Armed with her undeniable interests in the anthropology of religion and the relationship
between Christian and Jewish traditions and early medieval architecture, Joan Branham offers
an insightful look into the preservation and destruction of objects within sacred spaces.
Branham walks the reader through a colorful field of examples, using Jewish and Christian
chancel screens to structure her argument against the destruction or removal of objects from
sacred sites. She proposes that the purposes associated with the physical placement of chancel
screens in sacred spaces reflect the hierarchal motives of the religious legislation in control and
compares the concepts of removal and erasure in both the literal and metaphorical sense to
support her romantic notions of sacrality and its critical importance in the budding world of
globalization.
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Brown, Michael F. (2004). Heritage as property. In Verdery, Katherine & Humphrey, Caroline
(Eds.) Property In Question: Value Transformation in the Global Economy, Oxford: Berg
Publishers, pp. 49-68.

Michael F. Brown is the president of the School for Advanced Research (SAR) in Santa Fe with a
background in anthropology and sociology, which proves useful in his depiction of heritage in a
globalizing economy and the language of ownership that is defining cultural values. Browns
focus is not necessarily on the ownership of physical objects, but rather on the increasing
availability of information and the resulting need for protection of the integrity and dignity of
indigenous cultures being thrust into the global art movement. He explores cultural heritage as
a form of property and the current paradox of maintaining diverse cultural values while
simultaneously participating in a globalizing public display.

Carroll, Noel (2007). Art and globalization: Then and now. The Journal of Aesthetics and Art
Criticism, 65(1), Special Issue: Global Theories of the Arts and Aesthetics, pp. 131-143.

Noel Carroll is a leader in contemporary theories about art and uses his background in
philosophy to stage his argument against globalization as a new epoch of history. Carroll instead
insists that globalization is simply an advanced stage of capitalism and is actually incomplete, as
there are many civilizations (like sub-Saharan Africa) that have not been integrated into the
global village. Carroll presents his own idea of an evolving, integrated, interconnected, and
transnational artworld, free of the questionable intents associated with globalization. He
believes societies in the information age are moving away from distinct cultural practices of
making meaning towards a unified art culture, moving freely in a connected world of
communication, succeeding in a completely new global artworld based on ideas in the present.

Danto, Arthur (1989). Narratives of the end of art. Grand Street, 8(3), pp. 166-181.

As a renowned art critic and philosopher of art, Arthur Danto approaches the notion of a
futureless artworld with confident grace, using the practice of appropriation to organize his
statement in favor of not necessarily an end to creative thought, but an end that is necessary for
a new beginning within the context of art. He provides ample support from artists and art
historians (especially Vasari) from a range of time and place to highlight the existence of an end
to art that has repeated itself throughout Western history, similar to the notions of
contemporary art and its infinite presence on the cusps of changes in the past and the present.
Danto sings of a freedom that exists at the end of art history, a post-historical phase of
philosophical fancy, equipped with the confusing, yet delightful, mysteries of the unknown
future.

Dean, Carolyn (2006). The trouble with the term art. Art Journal 65(2), pp. 24-32.

Carolyn Dean, professor of cultural histories of the native Americas and colonial Latin America at
UC Santa Cruz, expresses her views on what we call art and speculates on the consequences of
identifying objects as art in cultures where it does not exist. Her 2006 article The Trouble with
(the Term) Art explores the dominance of Western European influence in the grouping of non4

European art as primitive and highlights the worldwide inconsistencies between definitions of
art. Dean attributes the historical use of art to place value and evolutionary rank among diverse
cultures to the simultaneous emergence of art history and European colonization. By presenting
the pitfalls of the normalization of indigenous cultures, she successfully completes her goal of
provoking a conversation about possible solutions to egocentric colonial ideals in the context of
art.
Duncan, Carol (1995). The problematics of collecting and display, part 1: The art museum as
ritual. The Art Bulletin, 77(1), pp. 6-23.

Carol Duncan is a strong representative of a social and political perspective on the history of art
and engages in the ruthless investigation of questionable practices in art museums, a concept
that is perched on the forefront of contemporary art historical discussion. Duncan describes the
museum as a ceremonial monument capable of displaying meaning both within the
architectural walls, as well as, outside the confines of physical structure, both heavy with social
and political implications. Duncan insists on viewing the art museum as a ritual site because of
its capability to offer opportunities to form an individual spiritual or ephemeral experience for
the viewer, although she doesnt necessarily agree with the practices of museums in their
displays of other cultures.

Elkins, James (2006). Art history as a global discipline. In Elkins, J. (Ed.) Is Art History
Global? New York: Routledge. Retrieved from http://www.globalartmuseum.de/site/home

James Elkins, art historian, art critic, and chair member at the School of the Art Institute of
Chicago, presents an extensive view of the emergence of art history as a global form. Elkins uses
his essay to compare two opposing views of art history; one that provides support for the
concept of a cohesive and singular globalization in art, and one that provides support for art
history as being comprised of various, differing art practices throughout the world. Elkins does
not set out to cover the entire concept with what he describes as a mere sampling of points
(ten, to be exact) about globalization, but instead offers conversation hooks to be revisited in
the pursuit of knowledge surrounding global concepts.

Enwezor, Okwui (2003). The postcolonial constellation: Contemporary art in a state of


permanent transition. Research in African Literatures, 34(4), pp. 57-82.

Okwui Enwezor, art critic, curator, writer, and art history educator, presents a substantial view
of globalization in art by considering the breakdown in proximity and standardization of cultures
within the presence of a complex web of postcolonial discourse. Enwezor asserts that
contemporary is refracted from specific historical and cultural sites, as well as from a standpoint
that regards all productions and exchanges as a result of globalization, forming what he refers to
as a postcolonial constellation, or a starburst of interconnectivity between forces grounded in
geopolitical powers and new domains of living and belonging. He uses examples of globalization
at work in museum exhibitions and galleries to expound on his idea of a constantly evolving
relationship between reality and history.
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Fabian, Johannes (1990). Presence and representation: The other and anthropological
writing. Critical Inquiry, 16(4), pp. 753-772.

As a Professor of Cultural Anthropology at the University of Amsterdam, Johannes Fabians


background allows him to approach the topic of representing other cultures in the field of
anthropology with great confidence and a distinguished attitude. Fabian addresses the ideas of
difference and distance that are created during the act of representation through the use of
scientific and philosophical meanings and makes an attack against current practices of
representation in anthropological writings. He proposes that anthropologists refrain from
defining representation as having an enabling effect on the capacity of thought, but to accept it
as a physical and literal mode of practice within the field.

Flood, Finbarr Barry (2002). Between cult and culture: Bamiyan, Islamic iconoclasm, and the
museum. The Art Bulletin 84(4), pp. 641-659.

Finbarr Barry Flood, professor of art history at NYU, uses his knowledge of historiography,
methodology, and theory to uncover hidden motives behind the iconoclastic movements in
Bamiyan (Afghanistan) and Islamic history. His presentation of historical violence and political
undertones disguised as religious intent is supported with a strong sampling of artistic and
architectural objects, including the Buddhas at Bamiyan, which were more recently destroyed in
2001 and succeed in drawing attention to a centuries-old conversation. Flood wrestles with the
act of iconoclasm, its meaning, its history, its reputation, and reveals its function as an
opportunity to express the intentions or beliefs of a group of people or an individual, armed
with the self-righteous weapons of destruction and renovation.

Graham, Mark Miller (1995). The future of art history and the undoing of the survey. Art
Journal 54(3), pp. 30-34.

Mark Miller Graham, an associate professor of art history uses the categories of canonicity,
chronology, closure, and subjectivity to shape his argument against the unchanged art
historical survey texts that continue to be used in direct contradiction to the current work being
done in the field (p. 30). If the heart of art history lies within the knowledge provided by
historical survey texts, it is crucial to cut directly to the center and examine the inner workings.
By doing this, Graham exposes the weakness in the testimonies of a select few and offers
suggestions for changing the survey and the way art history is taught. Although his attempts
towards a reasonable solution are noble, they seem contradictory to his efforts to create a
cohesive and globalized approach to teaching the history of art.

Greenblatt, Stephen (January 1992). Resonance and wonder. In Karp, I. and Lavine, S. (Eds.),
Smithsonian Institution Press, pp. 42-56.

Stephen Greenblatt, a literary critic, theorist, scholar, author, and professor of humanities, uses
the models of resonance and wonder to formulate a discussion around the display of artworks
in museums and the literary sources that inform historical practices today. He illuminates the
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practices of displacement and erasure in the display of artistic and historical objects and
proposes a change in the functionality of museums to approach the topics of resonance and
wonder without destroying the original intent of the object. Greenblatt offers a multitude of
museum examples and proposals for new approaches to display, as well as, credits the State
Jewish Museum in Prague as being the most resonant museum (in his experience) due to its
focus on housing interconnected memories rather than physical artifacts.
Hallam, Elizabeth & Street, Brian (2000). Introduction. In E. Hallam and B. Street (Eds.) Cultural
Encounters: Representing Otherness, London: Routledge, pp. 1-11.

In the introduction to their book, Cultural Encounters: Representing Otherness (2000), Elizabeth
Hallam, a strong authority in the fields of anthropology and ethnography, and Brian Street, a
professor of language in education, explore the problems surrounding the inclusion of diversity
within the unchanging foundations of art history and anthropology and the challenges involved
with representing cultures without personal bias. Without critical analysis and restructuring of
the art history and anthropological practices that have been used to display and explain cultures
outside of the Western European realm, there will continue to be misrepresentation and crude
categorizations of material culture and diverse practices that are used to define whole groups of
people and their way of life.

Hallam, Elizabeth (2000) Texts, objects & otherness: Problems of historical process in writing
and displaying cultures. In Cultural Encounters: Communicating Otherness, ed. E.
Hallam and B. Street. London: Routledge.

In this chapter of their book, Hallam and Street describe the foundations that are informing
current practices in these academic fields as anything but current and in desperate need of
renovation if there is to be any hope of true representation within the contexts of our evolving
realities. How can we explain or represent diversity when our accepted stagnant definition
contradicts itself when put into action? How can we assign value judgments about another
culture without organizing them through our own experiences and cultural constructs? These
dilemmas are presented well by the authors, with ample support from researchers in the fields
of art history and anthropology.

Haskell, Francis (1987). The artist and the museum. New York Review of Books 34(19), pp. 3842.

Francis Haskell uses his background as an art historian with an emphasis on the social history of
art to formulate a discussion about famous nineteenth century artists, the histories that have
been created for them, and their hypothetical reactions to our satisfactory representations of
honor within the constructs of museums. Haskell employs the 19th century French painter
Fragonard, in addition to others, to illuminate his metaphorical approach to actual and
represented social conditions and the effect of museums on the life of the artist. Haskell
ultimately fights for the museum, although at times his language seems to imply the opposite,
and places it at the height of modern creation.
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Jameson, Fredric (1984). Postmodernism, or the cultural logic of late capitalism. New Left
Review, 146, pp. 53-92.

Fredric Jameson is a Professor of Literature at Duke University, literary critic, and political
theorist well-known for his analysis of contemporary culture. Jameson presents his ideas about
postmodernism and addresses the contemporary idea of the end of things as the literal end of
modernism and the theoretical rise of new aesthetics and stylistic innovation within an
emergence of a new (or late) capitalism. He offers postmodernism not as a movement or style,
but rather as a cultural dominant, allowing for a coexistence of differing features. He attributes
the qualities of postmodernism as being most obvious within the field of architecture and
proposes that the new theories and practices within the context of postmodernism will
undoubtedly contain a global perspective, taking into account the social and spatial qualities of
art.

Karp, Ivan & Kratz, Corinne (2000). Reflections on the fate of Tippoos Tiger: Defining cultures
through public display. In Cultural Encounters: Communicating Otherness, ed. E. Hallam and B.
Street. London: Routledge.

Ivan Karp, a scholar of anthropology and humanities, and Corinne Kratz, Professor of
Anthropology and African Studies at Emory University, use a set of diverse examples of hidden
intentions behind museum displays to highlight failed attempts at reconciling the
representations of truth behind cultural creations. They use the example of Tippoos Tiger to
show that the intent of the creator is completely clouded, no matter how obviously it presents
itself in the visual sense, by the power of display controlled by the powers that seized control of
the cultures identity and redefined it to their comfort level. Karp and Kratz evoke the idea that
museums have a lead role in the presentation and preservation of human history and can be
guilty of abusing their power over the public or of being just plain ignorant to an offensive end.

Krasner, Stephen (1999). Sovereignty. Foreign Policy, 122, pp. 20-22, 24, 26, 28-29.

Stephen Krasner uses his background in international relations to present his argument for the
continued existence of the sovereign state and its ability to face new challenges within the
context of globalization. The concept of sovereignty has taken a seat at the table of
contemporary art practices of collection, display, and interpretation, and its role in the global
functions of everyday life is given specific attention by Krasner. The idea the sovereignty is dead
resonates from the instances of blurred borders due to technological and communicative
advances and the emergence of international trade. Krasner maintains that globalization has
changed the scope of state control, but has not demolished it, although it may feel that way to
isolated cultures that have been misrepresented or seemingly forced into an international
canon.

Loshitzky, Yosefa (2000). Orientalist representations: Palestinians and Arabs in some


postcolonial film and literature. In Cultural Encounters: Communicating Otherness, Eds. E.
Hallam and B. Street. London: Routledge.

Yosefa Loshitsky, professorial research associate at the Centre for Media and Film Studies in
London, uses her research background in post-colonial approaches to Israeli and Palestinian
cinema and her interest in race, racism and racialization in film and popular culture to support
her revealing chapter about the unfulfilled responsibilities of film and literature to provide
skewed views of the outside world. Loshitskys uses her examination of Amos Ozs My Michael
(1967) and its adaptation to film as an anchor for her argument against the generalized and
male-dominated orientalist representations of exoticism, sexuality, and immorality in The Third
World and successfully fuels a conversation surrounding the representations of political, social,
economic, religious, and artistic purposes behind prominently Western-influenced
representations of exoticism in other cultures.

Marcus, Julie (2000). Towards an erotics of the museum. In Cultural Encounters:


Communicating Otherness, eds. E. Hallam and B. Street. London: Routledge.

Julie Marcus, Professor of Social Anthropology at Charles Sturt University in Australia, explores
the role of the museum in evoking wonder from the viewer and questions the integrity of the
attempts to reconcile representations of diverse cultures. Does the museum as a living,
breathing institution take advantage of a viewers natural inclination to seek exhilaration on a
personal journey to enlightenment? Marcus highlights an excellent example of a revival of
colonial dominance over the displays of pre-colonial native culture in Australia by accusing the
Museum of Sydney of denying engagement with a large percentage of the public, using a vivid
description of the front entrance displays to successfully support her argument against outdated
colonial intentions that are seemingly hidden in plain sight.

Mason, Peter (1998). Infelicities: Representations of the exotic. Baltimore and London: The
Johns Hopkins University Press. (Use Christine Kray Review)

Peter Mason is a consultant in art and anthropology and author of multiple books surrounding
artistic representation and imagery. Mason offers a simple distinction between the views of the
exotic and views of the other and provides a plethora of diverse artistic examples ranging from
landscape paintings to cabinets of curiosities to illuminate this undeniable separation of actual
persons of culture and imagined ideas about a culture. Mason investigates artworks in detail to
point out actual pictorial elements that belong in other times and places, but are included with a
superficiality of an imagined and exoticized culture.

Mishra, Vijay & Hodge, Bob (2005). What was post(-)colonialism? New Literary History, 36(3),
Critical and Historical Essays, pp. 375-402.

Vijay Mishra, a film historian, and Bob Hodge, professor of humanities and social sciences, make
an interesting and powerful duo in the investigation of post-colonialism in their second essay
surrounding the subject (the first entitled What is post-colonialism?). Mishra and Hodge
propose that post-colonialism is not over or at its end like most other movements of the past,
but has rather moved beyond the continuities and discontinuities associated with the practices
of colonialism. They use Immanuel Kants essay An Answer to the Question: What Is
Enlightenment?, and Michael Foucalts response to formulate a discussion around the redefining
of post-colonialism into an aura of modernity and a fact of critical continuity.

Mukherji, Parul Dave (2014). Whither art history in a globalizing world. The Art Bulletin 96(2),
pp. 151-155. DOI:10.1080/00043079.2014.898992

Parul Dave Mukherji, Dean of the School of Arts and Aesthetics at Jawaharlal Nehru University in
New Delhi, acknowledges the common threads of elite ethnocentrism embedded within world
art histories, discusses issues with the growing concept of globalization (one of her research
specialties), and proceeds to define possible steps towards reaching an agreeable solution.
Mukherji uses her personal experiences in India and references Indias rise to independence
from British rule to shape her argument against current (and past) practices of globalization in
art history. While the intentions behind globalization are well-meaning, the effect still mirrors
the Western-European colonial ideals of selection, interpretation, and display, trapping other
cultures in an all-too-familiar cookie-cutter role.

Onians, John (1996). World art studies and the need for a new natural history of art. Art
Bulletin, 72(2), pp. 206-209.

John Onians is Professor Emeritus of World Art at the University of East Anglia, Norwich, who
coined the term neuroarthistory, which describes an approach to art history that promotes the
neurological study of past and present artists. Onian argues that the greatest advantage of
world art studies lies in the fact that because there is no single definition, everyone can
potentially contribute to its development. As a result, he believes that the study of art needs to
employ new ways of inquiry and exploration in an age of globalization. Onian proposes a new
natural history of art that explores human physiology and psychology, moving away from a
cultural approach towards a living being approach.

Preziosi, Donald (1992). The Question of Art History. Critical Inquiry, 18(2), pp. 363-386.

Donald Preziosi, art historian and professor of art history, presents a detailed view of the field of
art history as scientific and systematic in its foundations, despite the growing interest in
redefining a new art history with roots in museology, aesthetic philosophies, art markets,
exhibitions, and art criticism. Preziosi sets out to provide a simple (although this is lost in the
complexities of his argument) and specific example of the practices of art history and uses the
Fogg Art Museum at Harvard University to illustrate his point. Preziosi seems to view the art
museum as a scientific, laboratory environment, calling for an interaction between the object
and the viewer, and using art historical practice as devoted to the restoring of circumstances
surrounding the creation of artistic objects.
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Price, Sally (2005). Art and the Civilizing Mission. Anthropology and Humanism, 30(20), pp
133140.

Sally Price is a renowned anthropologist and professor of anthropology and uses her background
in the study of what is called primitive art to formulate her argument against cultural
assumptions in the globalization of art. Price uses France and French Giuana in her case study of
processes involved with cultural assumptions about objects, their place in both Western and
non-Western museums, and their impact on consumers and producers of artistic or cultural
artifacts. She eludes to the affirmation of the new modes of representation in art as being
negotiated in the light of a civilization movement that seeks to normalize or generalize objects
of history, art, and culture.

Schwarzer, Mitchell (1995). Origins of the art history survey text. Art Journal 54(3), pp. 24-29.

Mitchell Schwarzer, an architectural and urban historian, begins with a close look at the art
history survey, exposing pioneers in the field and bringing blatant contradictions to the
forefront. Schwarzer takes a closer look at the origins of the survey, delving into the specifics of
a few key individuals. His investigations reveal the recognizable pattern of the political and
economic visions of the dominating force of the 19th century, something that one encounters
often when trudging through the murky swamps of recorded history. Schwarzer offers an
interesting twist on the seemingly predictable musings of historical survey pioneers, and uses
foreshadowing to link notions of the past with actions in the present.

Seppa, Anita (2010). Globalisation and the arts: the rise of new democracy, or just another
pretty suit for the old emperor? Journal of Aesthetics and Culture, 2, pp. 1-25.

Anita Seppa, a professor of aesthetics and art education, uses her article to address the effects
of colonial discourse on the emergence of globalization in art. Seppa uses contemporary
Australian Aboriginal arts to exemplify the existence of negotiations between ancient
indigenous practices and Western-European colonial structures of inclusion, interpretation, and
display. Although she appreciates the ability of a globalized market to draw attention to
cultures and artworks that would otherwise be ignored, Seppa remains skeptical about
accepting the totality of globalization, as it is inevitably tied into capitalist colonial intent.

Smith, Terry (2010). The state of art history: Contemporary art. The Art Bulletin, 92(4), pp.
366-383.

Terry Smith, art historian, author, and Professor of Contemporary Art History, presents a wellsupported sampling of the history and denotations of contemporary art and offers his own
views about the time and place conundrum that inevitably accompanies it. Smith uses examples
of artists who create commentaries within their works to call into question the displacement or
even existence of contemporary art. This, upon further investigation, foreshadows his own
explanations of the term contemporary, its existence in the world of art history, and the
challenge of defining multiple stories of art within its nonexistent boundaries.
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Stallabrass, Julian (2000, October 2). Cashing In. The New Statesman. Retrieved from
http://www.newstatesman.com/node/138686

Julian Stallabrass, with a background in art history, curatorial practices, and photography,
supports a view that investigates the relationship between art and politics and uses examples of
progressive activist artworks to expose the contradictions between intended message and the
sponsorships required in order to share it on a global scale. Stallabrass paints an all-too-familiar
picture of controlling parties that patronize the work of artists, even the ones that are
protesting against the very powers that are promoting, and essentially, controlling them.

Steinberg, Leo (1962, March 1). Contemporary art and the plight of its public. Harpers
Magazine, 224(1342).

Leo Steinberg, a prominent art historian and art critic of the 20th century, (unknowingly at the
time of this article) offers evidence of the existence of the notions of the contemporary, a
current debate in the artworld, and defines his notions about the shock or confusion (plight) of
people engaged in playing a role (the public) in defining new or unfamiliar (contemporary) styles
of art. Steinberg uses examples of artworks from Matisse, Picasso, and Jasper Johns to organize
his argument for the inevitable existence of a normal and repeating human condition of
perpetual anxiety when faced with the modern or contemporary.

Tavin, Kevin & Hausman, Jerome (2004). Art Education and Visual Culture in the Age of
Globalization. Art Education, 57(5), Community, Collaboration, and Culture, pp.47-52.

Kevin Tavin, professor of art, and Jerome Hausman, visiting professor, both at the Art Institute
of Chicago, present their ideas about the ever-present product of change in human history and
the difference in the rate of change in todays highly technological and communicative world.
Tavin and Hausman offer a view of globalization that includes visual culture and art education as
part of the human exchanges in everyday life. They assert four main points: we are presently in
an age of economic and cultural globalization, the boundaries of distinction are transitioning,
globalization does require some form of standardization, and that advances in communication
and transportation have influenced our thinking and action. They ultimately call for art teachers
to educate their students on the topics of visual culture and globalization, in the hopes that it
will create a new age of artistic originality.

Varnedoe, Kirk (1980). Revisionism Revisited. Art Journal, 40(1/2), Modernism, Revisionism,
Plurism, and Post-Modernism, pp. 348-352.

Kirk Varnedoe was a professor of art history at Princeton and Chief Curator of Painting and
Sculpture at the Museum of Modern Art (MOMA) from 1988-2001, providing ample support for
his article surrounding the inherent re-visioning of artistic intent, style, and taste that is being
repeated within the contemporary art conversation. Varnedoe walks the reader through a
sampling of nineteenth century aims and procedures in art history that have changed in the face
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of the contemporary and highlights the resulting adaptations of conservative approaches to art
history, criticism, collection, and display.
Winegar, Jessica (2006). Cultural sovereignty in a global art economy: Egyptian cultural
policy and the new Western interest in art from the Middle East. Cultural Anthropology 21(2),
pp. 173-204.

Jessica Winegar, a sociocultural anthropologist, focuses on the struggle between privatized and
state-run art markets, specifically in Egypt, to highlight the complexities of globalization and to
propose a balance for the sake of art. Winegars arguments are presented clearly, without
pretense, and actually pay homage to the main character in our global art play: the artist.
Without the insights of forward-thinkers like Winegar, it would be hard to see the potential of
globalization as a way to confuse the narrow-minded aspects of the traditional world of art.
While the elites are struggling to fix an already inefficient and broken system for a hierarchy of
art and culture, there is a window of opportunity for the allowance of individual participation,
and relevant and meaningful explanations of diverse material culture from the mouths of the
makers.

Wu, Chin-tao (2007). Occupation by absence, preoccupation with presence: A worms-eye


view of art biennials. Journal of Visual Culture 6(3), pp. 379-386.

Chin-tao Wu, a writer who specializes in the social and political aspects of contemporary art and
culture, presents a view of art biennials as a flexible, democratic, and popular mechanisms in
cultural and artistic appreciation and proceeds to peel away the skin of false pretense to reveal
a simplistic goal of fitting in to the globalization market. Westerners hold biennials to promote
other cultures and to show their maturity in the ways of representation of the other, while
Easterners seemingly hold biennials to squeeze into the Western dominated international art
market by appealing to pleasing Western ideals. Wu supports the idea that despite the
seemingly noble efforts of globalization to even the playing field, there still exists a migration
towards traditional centers of art, exposing where the true power may lie.

Yudice, George (1999). The privatization of culture. Social Text, 59, pp. 17-34.

George Yudice is a professor of Latin American studies and a contemporary theorist surrounding
the changing role of culture in a world of globalization. Yudice explores the complicated history
of conservative attacks on the National Endowment for the Arts (NEA) since 1989 and offers a
view that explains the defunding of the NEA as a restructuring of govermentality of the
narratives of art and culture in the midst of the end of the Cold War. Yudice questions the
ability of arts organizations to legitimately alleviate their concerns surrounding the integrity of
art and culture because of their historical tendency to compromise with a government of
capitalists.

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