"The rise of globalism has created tremendous challenges to old economic, political, and cultural paradigms, and these changes are reflected in artistic practices. Disciplinary boundaries are crossed as easily as geographical ones. How does the new internationalism that we are facing affect aesthetics and artistic production? Is there a link, for example, between the rise of video works and the global availability of the digital medium? Does the global information age facilitate an 'international language of art' and an alternative reading of art history, toward art histories? From the perspective of a museum of modern and contemporary art, the institution has to overcome a majore contradiction between its mission of permanence and its mission of change. How can cultural institutions contribute to the revamping of their own structures now that the hegemony of Western modernity is being challenged? How can museums connect with new audiences through different practices, different scholarship, and different interpretative strategies growing out of the sedimentation of their histories? To invite and encourage such dialogue, 'How latitudes become forms : art in a global age' looks at current scholarship on globalism and changing curatorial practices, and identifies critical models provided by artists themselves. This catalogue features thought-provoking essays and conversations by curators, critics, and cultural programmers from across the world as well as the multidisciplinary artworks of more than forty visual, film/video, performing, and new media artists from Brazil, China, India, Japan, South Africa, Turkey, and the United States." -- book cover.

In the 1990s and 2000s, contemporary art in India changed radically in form, as an art world once dominated by painting began to support installation, new media, and performance. In response to the liberalization of India’s economy, art was cultivated by a booming market as well as by new nonprofit institutions that combined strong local roots and transnational connections. The result was an unprecedented efflorescence of contemporary art and growth of a network of institutions radiating out from India. Among the first studies of contemporary South Asian art, Infrastructure and Form engages with sixteen of India’s leading contemporary artists and art collectives to examine what made this development possible. Karin Zitzewitz articulates the connections among formal trajectories of medium and material, curatorial frames and networks of circulation, and the changing conditions of everyday life after economic liberalization. By untangling the complex interactions of infrastructure and form, the book offers a discussion of the barriers and conduits that continue to shape global contemporary art and its relationship to capital more broadly.

When we talk about the geographical, ecological, ethnographic, historical, documentary, and cosmopolitan “turns” in relation to the work of practitioners of contempory art, what exactly do we mean? Are we talking about a “reading strategy”? About an interpretive model, as would be derived from the linguistic turn of the 1970s, or rather about a stratigraphic structure that could be read across multiple cultural practices? Do we wish to read one system by means of another system, in a way that one nurtures the other so that it can open us up to other forms of being? Or is it rather about a generative movement in which a new horizon emerges in the process, leaving behind the practice that was its point of departure? The recurrence of “turn” in place of “style”, “-ism”, or “tendency” would ultimately respond to a clear urgency of the contemporary global world: a movement characterised by aesthetic pluralism, by the simultaneousness of various modi operandi, and by a great multiplicity of languages that constantly change their state while having many features in common. And “turn” would also allow within the space of the contemporary — of here and now —, a great diversity of stories from all around the world that should be confronted simultaneously in an intellectual outlook that is continuous and disjunctive, essential to understanding the present as a whole.

Presents a clear and comprehensive introduction to the evolving discipline of global art studies This volume examines how art historians, critics, and artists revisit art from ancient times through to the early modern period as well as the ways in which contemporary objects are approached through the lens of global contact, exchange, networks, and trade routes. It assists students who actively seek to understand "global art history" and the discipline beyond the founding Western canons. The first section of Art History in a Global Context: Methods, Themes and Approaches explores how themes related to globalization are framing the creation, circulation, reception, and study of art today. The second section examines how curators, scholars, artists, and critics have challenged the Eurocentric canon through works of art, writings, exhibitions, biennials, large-scale conferences, and the formation of global networks. The third section is designed to help students look forward by exploring how art history in a global context is beginning to extend beyond the contemporary condition to understand the meaning, conditions, and impacts of exchange across borders and among artists in earlier periods. Presents a historiography of global art histories in academic, museological, and exhibition projects Written by a collection of authors from different linguistic, cultural, geographic, generational, and disciplinary perspectives Aids students in understanding "global art history" and the discipline beyond the founding Western canons Provides a set of case studies to bring to life methodologies being employed in the field Features contributors from the program of the Getty Foundation and the College Art Association International Committee's project Art History in a Global Context is an ideal choice for upper-level undergraduate and entry level graduate art students. It can also be used as a teaching tool, or as models for case studies in different formats.

Conceived as a challenge to long–standing conventional wisdom, Creating the Future is a work of social history/cultural criticism that examines the premise that the progress of art in Los Angeles ceased during the 1970s—after the decline of the Ferus Gallery, the scattering of its stable of artists (Robert Irwin, Ed Kienholz, Ed Moses, Ed Rusha and others), and the economic struggles throughout the decade—and didn't resume until sometime around 1984 when Mark Tansey, Alison Saar, Judy Fiskin, Carrie Mae Weems, David Salle, Manuel Ocampo, among others became stars in an exploding art market. However, this is far from the reality of the L.A. art scene in the 1970s. The passing of those fashionable 1960s–era icons, in fact, allowed the development of a chaotic array of outlandish and independent voices, marginalized communities, and energetic, sometimes bizarre visions that thrived during the stagnant 1970s. Fallon's narrative describes and celebrates, through twelve thematically arranged chapters, the wide range of intriguing artists and the world—not just the objects—they created. He reveals the deeper, more culturally dynamic truth about a significant moment in American art history, presenting an alternative story of stubborn creativity in the face of widespread ignorance and misapprehension among the art cognoscenti, who dismissed the 1970s in Los Angeles as a time of dissipation and decline. Coming into being right before their eyes was an ardent local feminist art movement, which had lasting influence on the direction of art across the nation; an emerging Chicano Art movement, spreading Chicano murals across Los Angeles and to other major cities; a new and more modern vision for the role and look of public art; a slow consolidation of local street sensibilities, car fetishism, gang and punk aesthetics into the earliest version of what would later become the "Lowbrow" art movement; the subversive co–opting, in full view of Pop Art, of the values, aesthetics, and imagery of Tinseltown by a number of young and innovative local artists who would go on to greater national renown; and a number of independent voices who, lacking the support structures of an art movement or artist cohort, pursued their brilliant artistic visions in near–isolation. Despite the lack of attention, these artists would later reemerge as visionary signposts to many later trends in art. Their work would prove more interesting, more lastingly influential, and vastly more important than ever imagined or expected by those who saw it or even by those who created it in 1970's Los Angeles. Creating the Future is a visionary work that seeks to recapture this important decade and its influence on today's generation of artists.

How does contemporary art best respond to social crisis? Through reflection on its own crisis of form Criticism of contemporary art is split by an opposition between activism and the critical function of form. Yet the deeper, more subterranean terms of art-judgment are largely neglected on both sides. These essays combine a re-examination of the terms of judgement of contemporary art with critical interpretations of individual works and exhibitions by Luis Camnitzer, Marcel Duchamp, Matias Faldbakken, Anne Imhof and Cady Noland. The book moves from philosophical issues, via the lingering shadows of medium-specificity (in photography and art music), and the changing states of museums, to analyses of the peculiar ways that works of art relate to time.To give artistic form to crisis, it is suggested, one needs to understand contemporary art’s own constitutive crisis of form.

"This book considers ethical issues and social dilemmas at two levels: the individual vs. individual and the individual vs. the collective, providing a thorough treatment of these facets and demonstrating the philosophical underpinnings of each dimension of knowledge management"--Provided by publisher.

"In 1955 a conference was held in Bandung, Indonesia that was attended by representatives from twenty-nine developing nations. Against the backdrop of crumbling European colonies, Asian and African leaders forged a new alliance and established anti-imperial principles for a new world order. The conference captured the popular imagination across the Global South. Bandung's larger significance as counterpoint to the dominant world order was both an act of collective imagination and a practical political project for decolonization that inspired a range of social movements, diplomatic efforts, institutional experiments and heterodox visions of the history and future of the world. This book explores what the spirit of Bandung has meant to people across the world over the past decades and what it means today. Experts from a wide range of fields show how, despite the complicated legacy of the conference, international law was never the same after Bandung"--

During the lead-up to the 2008 Beijing Olympics, the censorious attitude that characterized China's post-1989 official response to contemporary art gave way to a new market-driven, culture industry valuation of art. Experimental artists who once struggled against state regulation of artistic expression found themselves being courted to advance China's international image. In Experimental Beijing Sasha Su-Ling Welland examines the interlocking power dynamics in this transformational moment and rapid rise of Chinese contemporary art into a global phenomenon. Drawing on ethnographic fieldwork and experience as a videographer and curator, Welland analyzes encounters between artists, curators, officials, and urban planners as they negotiated the social role of art and built new cultural institutions. Focusing on the contradictions and exclusions that emerged, Welland traces the complex gender politics involved and shows that feminist forms of art practice hold the potential to reshape consciousness, produce a nonnormative history of Chinese contemporary art, and imagine other, more just worlds.

First person accounts by pioneers in the field, classic essays, and new scholarship document the collaborative and creative practices of early social media. Focusing on early social media in the arts and humanities and on the core role of creative computer scientists, artists, and scholars in shaping the pre-Web social media landscape, Social Media Archeology and Poetics documents social media lineage, beginning in the 1970s with collaborative ARPANET research, Community Memory, PLATO, Minitel, and ARTEX and continuing into the 1980s and beyond with the Electronic Café, Art Com Electronic Network, Arts Wire, The THING, and many more. With first person accounts from pioneers in the field, as well as papers by artists, scholars, and curators, Social Media Archeology and Poetics documents how these platforms were vital components of early social networking and important in the development of new media and electronic literature. It describes platforms that allowed artists and musicians to share and publish their work, community networking diversity, and the creation of footholds for the arts and humanities online. And it invites comparisons of social media in the past and present, asking: What can we learn from early social media that will inspire us to envision a greater cultural presence on contemporary social media? Contributors Madeline Gonzalez Allen, James Blustein, Hank Bull, Annick Bureaud, J. R. Carpenter, Paul E. Ceruzzi, Anna Couey, Amanda McDonald Crowley, Steve Dietz, Judith Donath, Steven Durland, Lee Felsenstein, Susanne Gerber, Ann-Barbara Graff, Dene Grigar, Stacy Horn, Antoinette LaFarge, Deena Larsen, Gary O. Larson, Alan Liu, Geert Lovink, Richard Lowenberg, Judy Malloy, Scott McPhee, Julianne Nyhan, Howard Rheingold, Randy Ross, Wolfgang Staehle, Fred Truck, Rob Wittig, David R. Woolley