lecture 2 - art in a global context

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  1. 1. Art Matters: Illuminating Contemporary Art Shepparton Art Museum 2015 LECTURE 2: ART IN A GLOBAL CONTEXT
  2. 2. Globalisation Yin Xiuzhen, Portable City Berlin, 2002 Globalisation is not new It is an economic, social, political and cultural process Since 1990s, associated with developments in communications technology, shift from industrial to information society, and fall of Communism Debated: what globalisation means for the world Uneven: clashes of culture, but also allowing for new relations of power
  3. 3. Yinka Shonibare Mr and Mrs Andrews 1998 I do not necessarily like the term hybrid because it suggests the notion of some outside purity Yinka Shonibare, Fabric and the irony of authenticity, 1996, p. 38
  4. 4. Thomas Gainsborough, Mr and Mrs Andrews, c1750
  5. 5. Yinka Shonibare Mr and Mrs Andrews 1998
  6. 6. Huang Yong Ping, Frolic, 2008 Installation view, The Curve Barbican, London
  7. 7. Martha Rosler from "In the Place of the Public: Airport Series, 1983-84 Marc Aug, Non-Places: an introduction to Supermodernity, 1995
  8. 8. Rirkrit Tiravanija, untitled 1992/1995 (free/still) Installation view MoMA Doreen Massey, A Global Sense of Place from Space, Place and Gender, 1994
  9. 9. Laurie Anderson New York Times, Horizontal/ China Times, Vertical 1971
  10. 10. It sometimes seems as if all the world is on the move. The early retired, international students, terrorists, members of diasporas, holidaymakers, business people, slaves, sports stars, asylum seekers, refugees, backpackers, commuters, young mobile professionals, prostitutes these and many others seem to find the contemporary world is their oyster or at least their destiny. Criss-crossing the globe are the routeways of these many groups intermittently encountering one another in transportation and communication hubs, searching out in real and electronic databases the next coach, message, plane, back of lorry, text, bus, lift, ferry, train, car, website, wifi hotspot and so on. John Urry, Mobilities, 2007, pp. 2-3 MOBILITIES
  11. 11. Pablo Picasso Les Demoiselle dAvignon 1907 POSTCOLONIALISM
  12. 12. Mbuya mask, Pende, Zaire
  13. 13. Primitivism in Twentieth Century Art: Affinity of the Tribal and Modern Museum of Modern Art Curator: William S. Rubin 1984
  14. 14. Local Context ProppaNow War memorials and humour Gerard Krefft, Corroboree on the Murray River, 1858 Local Context: The History Wars Robert Mann Keith Windschuttle
  15. 15. Brook Andrew, Jumping Castle War Memorial, 2010
  16. 16. Can you jump?
  17. 17. Bindi Cole, Wathaurung Mob, 2008 from the series Not Really Aboriginal
  18. 18. Okwui Enwezor, global independent curator Curator of the 2015 Venice Biennale
  19. 19. Curator, Brown University, date unknown
  20. 20. This is what differentiates the curator from the artist, as the artist has the privilege to exhibit objects which have not already been elevated to the status of art. Boris Groys, Art Power, 2008, p.43
  21. 21. From the maquette for Melbourne Now at NGV, 2013-14
  22. 22. exhibitions have become the medium through which most art becomes known Greenberg, Ferguson and Nairne (eds),Thinking about Exhibitions, 1996
  23. 23. Live in Your Head: When Attitudes Become Form, installation view, Kunstalle Bern, 1969
  24. 24. Michael Heizer, Bern Depression, 1969
  25. 25. Haus Ruckers work Oasis No. 7 in Harald Szeemans Documenta 5
  26. 26. John Baldessari, Ocean and Sky (with Two Palm Trees), 2009 53rd Venice Biennale, 2009
  27. 27. International biennial map 2014 from biennialfoundation.org
  28. 28. Ai Weiwei, Fairytale: 1,001 Chinese visitors, Documenta12, 2007
  29. 29. Societe Realiste installation at the 11th Istanbul Biennial, 2009
  30. 30. Artwork for the 2014 Marrakech Biennale THE LOCAL AND THE GLOBAL
  31. 31. Some Key Ideas from this lecture: Globalisation Globalisation is not a new phenomenon, but there was a shift in the 1990s in technologies that changed the way the world works The exchanges that have happened over time due to globalisation have led to hybrid cultures There have been different responses to globalisation, with some critics identifying it with alienation, others with diversity Regardless of your position, there has not been a neat mixing of cultures through globalisation difference and sameness are both still present We can use postcolonial critique to reconsider some of these histories and cultural conditions
  32. 32. Some Key Ideas from this lecture: Context Curatorial practice has shifted with contemporary practice Curators traditionally create context while artists create content These lines have been blurred with contemporary practice Artists, however, are the only ones given the transformative power to turn objects into art Biennales and blockbuster exhibitions have become the globalised forms of exhibition making and some of the most common ways that large audiences see art Biennales have been accused of flattening culture and ignoring local and cultural differences In response there has been a movement around the glocal, which is a theory that we need to both look at both universalising and particularising tendencies together
  33. 33. Contact Details Course Lecturer Drew Pettifer RMIT University and SAM Foundation Email: drew.pettifer@rmit.edu.au Web: www.slideshare.net/ DrewPettifer