Global Work of Art

World's Fairs, Biennials, and the Aesthetics of Experience
 
 
University of Chicago Press
  • 1. Auflage
  • |
  • erschienen am 1. Juni 2017
  • |
  • 400 Seiten
 
E-Book | ePUB mit Adobe-DRM | Systemvoraussetzungen
978-0-226-29188-8 (ISBN)
 
Global biennials have proliferated in the contemporary art world, but artists' engagement with large-scale international exhibitions has a much longer history that has influenced the present in important ways. Going back to the earliest world's fairs in the nineteenth century, this book argues that &quote,globalism&quote, was incubated in a century of international art contests and today constitutes an important tactic for artists.As world's fairs brought millions of attendees into contact with foreign cultures, products, and processes, artworks became juxtaposed in a &quote,theater of nations,&quote, which challenged artists and critics to think outside their local academies. From Gustave Courbet's rebel pavilion near the official art exhibit at the 1855 French World's Fair to curator Beryl Madra's choice of London-based Cypriot Hussein Chalayan for the off-site Turkish pavilion at the 2006 Venice Biennale, artists have used these exhibitions to reflect on contemporary art, speak to their own governments back home, and challenge the wider geopolitical realm-changing art and art history along the way. Ultimately, Caroline A. Jones argues, the modern appetite for experience and event structures, which were cultivated around the art at these earlier expositions, have now come to constitute contemporary art itself, producing encounters that transform the public and force us to reflect critically on the global condition.
  • Englisch
  • Chicago, IL
  • |
  • USA
978-0-226-29188-8 (9780226291888)
weitere Ausgaben werden ermittelt
  • Intro
  • Contents
  • Preface
  • 1. The Blindman
  • or, How to Visit a World Exhibition
  • Blind Epistemology
  • Optics and Encyclopedics
  • Universal Object Lessons
  • Sensory Alternatives
  • 2. Desires for the World Picture
  • Desires
  • Ars et Feriae
  • Publics, Infrastructures, Discourse
  • Objects of Art / Difference
  • Art in the Age of Its Touristic Reproduction
  • Architectures and Endings
  • 3. Old World / Biennial Culture
  • Old Beginnings in Venice
  • Repetition and Difference
  • Subjects, Nations, Artists
  • Biennial Culture
  • 4. New World / Cold War
  • Hemispheric Rearrangements
  • Arte Moderna
  • Difference and Repetition
  • From Museum to Bienal
  • Plastic Revolutions
  • Modulor Moderns
  • 5. Transnational Openings
  • Tactics of the Trans
  • Unities / the Differend
  • When Attitudes Became Norms
  • Incorporations
  • 6. The Aesthetics of Experience
  • Tropes of Experience
  • Encounters and Emblems
  • Expérience, Erfahrung, and Event
  • Economimesis at the Fair
  • 7. Critical Globalism, in Practice
  • The Worldly Subject
  • Global Workings of Art
  • Practicing Critical Globalism
  • Notes
  • Bibliography
  • Index

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