Annotated Bibliography Art and Global Diversity
Anderson, Jaynie, ed. Crossing Cultures: Conflict, Migration and Convergence : the Proceedings of the 32nd International Congress of the History of Art. Melbourne: Miegunyah Press, 2009.
This book is an exhaustive investigation of the effects of globalism on art and art history. It consists of over two hundred papers, written for the 32nd International Congress in the History of Art conference, by art historians representing twenty-five countries. It addresses all areas of art and investigates the challenges that art has faced throughout history. The conference chairperson, Jaynie Anderson is the book’s editor. I believe this book useful as it provides scholarly research.
Archer, Michael. Art Since 1960. 2nd ed. London: Thames & Hudson, 2002.
This updated survey discusses the modernization of art since 1960 and its globalization since the mid 1990’s. It covers many styles, artists, and art museums. Archer is an art critic and has published many essays on contemporary art in various books and art journals. This book provides a good overview of the evolution of modern art.
Ardouin, Claude, and Hans Belting. Contemporary Art and the Museum: A Global Perspective. Berlin: Hatje Cantz, 2007.
This collection of writings explores the impact of contemporary non-western art and the world’s local museums. The articles, written by art critics, anthropologists, and museum curators, provide first hand testimonies regarding the present situation within the world of art.
Belting, Hans. "Contemporary Art as Global Art A Critical Estimate." The Global Art World (2009).
In this article, Belting discusses global art beginning at the end of the twentieth century. He examines the problems created by art on a global scale and how it can open unprecedented possibilities for artists, creating a new enthusiasm among them. Belting writes from the point of view of an art historian and theorist of contemporary art. This is a useful study on global art and its relationship to contemporary art, modern art, as well as art history.
Belting, Hans, and Peter Weibel. GAM – Global Art and the Museum. http://www.globalartmuseum.de/site/about_us.
This website, started by leading scholars in the field, documents the disputed boundaries of today’s art world, encourages discussion of globalizations’ affects on art, and provides relevant information on the development and progress of global art. It includes listings and links for recommended publications, lectures, conferences, etc. This is a good resource that provides a wealth of information.
Bois, Yve-Alain, Benjamin H. Buchloh, Hal Foster, David Joselit, and Rosalind Krauss. Art Since 1900: Modernism Antimodernism Postmodernism. New York: Thames & Hudson, 2011.
The authors introduce the many voices of art through short essays that focus on the diversity of practice for specific events and works within art history. The book contains more than 600 works listed in chronological order and addresses questions regarding the preceding decades. The authors are all scholars in the field of art and the book has received good reviews.
Branham, Joan R. "Sacrality and Aura in the Museum: Mute Objects and Articulate Space."The Journal of the Walters Art Gallery 53 (1995): 33-47.
In this article, Branham focuses on the theories and problems associated with the presentation of sacred objects within museums. She points out the many areas of concern that museum staff must consider when constructing a space for religious or sacred objects and explains that there will always be areas of tension that need to be addressed. Branham is Professor of Art History and has done extensive research in the area of Sacred Space. This is a good reference for preparing displays or exhibits that include sacred and/or religious objects.
Brown, Michael F. Who Owns Native Culture? Cambridge: Harvard University Press, 2004.
Brown creatively uses legal cases to bring light to cultural ownership, group privacy, intellectual property, and the recovery of indigenous identities. Within the book he focuses on issues relating to art and sacred places providing insight into native cultural issues important to the art community.
Carrier, David. A World Art History and Its Objects. University Park: Penn State University Press, 2009.
Carrier, an art historian and philosopher, addresses the possibility of writing a world art history of all cultures. He discusses artistic traditions from different cultures meeting together and suggests introducing chronological narratives as a way to start to understand a multicultural art history.
Dean, Carolyn. "The Trouble with (The Term) Art." Art Journal 65, no. 2 (2006): 24-32.
In this article, Dean discusses various consequences of identifying art in societies where the concept of art did not or does not exist and shares her conclusions. She indicates the definition of the term art needs redefining and the discipline of art history needs re-evaluation and re-construction. Her opinions are strongly based on her work within the Incan culture and at times it seemed as if her concern is to push forth her personal work. This article is a good reminder to not look at another culture’s artwork with a preconceived idea as to how it should look.
Elkin, James. Is Art History Global? New York: Routledge, 2007.
This book presents conversations between prominent art historians and critics concerning the practice and responsibility of global thinking within the discipline of art. The topics include political, economic, philosophic, linguistic, and personal matters. Elkins is a prominent art historian and author of required reading for both postgraduate and master courses in the arts. This book will be one to reference, as it presents different views and perspectives on globalization and art.
Elkins, James, Alice Kim, and Zhivka Valiavicharska, eds. Art and Globalization (The Stone Art Theory Institutes). University Park: Pennsylvania State University Press, 2010.
This book includes dialogues, debates, personal responses and concerns with the visual arts and the globalization in art. Input is from political and cultural theorists, writers and historians, artists, scholars, and critics. The editors are scholars within the art field. I believe this book will be one to reference, as it presents different views and perspectives on globalization and art.
Elkin, James. Stories of Art. New York: Routledge, 2002.
In this book, Elkin familiarizes readers with the art of different cultures by sharing art history through literary stories instead of through an art textbook format. He incorporates Non-Western art with Western art and answers questions regarding race, gender, sexuality, etc. Elkins is Associate Professor in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. This book deserves further research and could be a nice addition to reference for teaching art.
Enwezor, Okwui. "The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition." Research in African Literatures 34, no. 4 (2003): 57-82.
In this article Enwezor examines postcolonial contemporary art in Africa. He discusses the globalization of art and how it has contested the traditional approach to art history. Enwezor is a Nigerian curator, art critic, writer, poet, and educator, specializing in art history. He is considered one of the top one hundred most powerful people within the art world.
Enwezor, Okwui, and Chika Okeke-Agulu. Contemporary African Art Since 1980. Bologna: Damiani, 2009.
This survey includes over 200 contemporary African artists whose practices represent the social and cultural difficulties of the continent. The book covers political influence, artists’ responses, and an extensive compilation of events, movements, and institutions. Both authors are Nigerian curators and art historians. I believe this book will be a good overview of contemporary African art.
Flood, Finbarr B. "Between Cult and Culture: Bamiyan, Islamic Iconoclasm, and the Museum." The Art Bulletin 84, no. 4 (December 2002): 641-59.
In this article, Flood explains how Islamic iconoclasm has been used to validate authority and manipulate the masses. He explores the defacing of artwork by Islam throughout history and the destruction of the Bamiyan Buddhas in 2011. He presents art as a way to influence others and indicates that people fashion their own identity and opinions by how they view others. Flood is Professor of the Humanities at NYU and has received many awards and honors for his teaching and writing.
Graham, Mark M. "The Future of Art History and the Undoing of the Survey." Art Journal 54, no. 3 (1995): 30-34.
Graham critiques areas in the structure of the survey and of art history concerning canonicity, chronology, closure, and subjectivity. His findings have led him to believe that the survey’s past focus on the art of the West has led to a canon presenting artistic and moral superiority. He suggests where reform and changes are needed, as well as new ways to introduce students to art history. Graham is Associate Dean and Professor Art History at Auburn University. This article provides insight into the future of art history and art education.
Greenblatt, Stephen. "Resonance and Wonder." Bulletin of the American Academy of Arts and Sciences 43, no. 4 (January 1990): 11-34.
Greenblatt examines two separate models for art exhibition in this writing: resonance and wonder. Resonance is about an objects relation to “a dense network of evolving and often contradictory social forces.” Wonder refers to the quality of an art object to grasp an exalted attention while generating surprise and attention. Greenblatt is a Harvard Professor and Pulitzer Prize winning author. This work is an excellent reference for understanding museum display.
Greenblatt, Stephen. The Swerve: How the World Became Modern. New York: W. W. Norton & Company, 2011.
This book is an example of how the other, who in this case is one believing religion is harmful and damaging and can cause “the world to swerve and change philosophical direction.” Greenblatt is a Harvard Professor and “The Swerve” was winner of the 2012 Pulitzer Prize and 2011 National Book Award for Nonfiction.
Groys, Boris. Art Power. Cambridge: The MIT Press, 2013.
In this book Groys, a Professor of Russian and Slavic Studies at New York University, discusses art being used as a commodity or as a tool of political propaganda. This reading seems somewhat controversial in that Groys appears to seek a political art practice.
Hallam, Elizabeth, and Brian Street. Introduction to Cultural Encounters Representing 'otherness', 1-10. New York: Routledge, 2000.
In the introduction of this book, the authors walk the reader through areas of concern that have arisen with the presentation of otherness in visual, textual and museum representations. It provides an understanding of the importance of studying and researching otherness. Hallam and Street are both professors at prominent colleges and done extensive research in cross-cultural perspective.
Hallam, Elizabeth. “Texts, objects and ‘otherness’ Problems of historical process in writing and displaying cultures. In Cultural Encounters Representing 'otherness', 261-283. New York: Routledge, 2000.
Chapter eleven expands on investigating how texts and objects relate to each other within certain fields of research and in museum practices. It provides a clear view of how to alleviate problems through careful thought and preparation. Elizabeth Hallam is a Research Associate in the School of Anthropology and Museum Ethnography, University of Oxford. This reading provides insight into the importance of how we present the other without bias and as equal.
Hung, Wu. Chinese Art at the Crossroads: Between Past and Future, Between East and West. Honolulu: University of Hawaii Press, 2002.
In this book Wu Hung edits and organizes images, essays, interviews, roundtable discussions, eyewitness accounts and biographies from Chinese-art.com. It includes insight from art critics within China and from scholars outside of China. Hung’s work is a good reference for globalization within the Chinese art world.
Kampen-O'Riley, Michael. Art Beyond the West. 3rd ed. Upper Saddle River: Pearson, 2012
In this book Kampen-O’Riley surveys the arts that lie outside of the Western tradition from pre-history to present. He points out the essentials and the ideals, beliefs, and principles that shaped the art and thought of each of the cultures discussed. Kampen O’Riley is a Professor Emeritus, University of North Carolina. This book would serve as an excellent source for reference.
Karp, Ivan, and Corinne A. Kratz. "Reflections on the fate of Tippoo's Tiger Defining cultures through public display'." International.Emory.edu 2000.http://international.emory.edu/karp_archive/pdfs/2000_reflections_on_the_fate_of_tippoos_tiger.pdf.
In this article the authors discuss how the cultural identity of others is represented in displays. They explain how ethnographic displays can be found in various places and are all created to address the viewer’s identity, a premise of self and other. The authors confirm the importance of understanding that all people are an other among others. Karp was instrumental in the emergence of pop art in the 1960s. Kratz is Professor of Anthropology and African Studies at Emory University and focuses on culture and communication.
Karp, Ivan, Corinne A. Kratz, Lynn Szwaja, and Thomas Ybarra-Frausto. Museum Frictions: Public Cultures/Global Transformations. Durham: Duke University Press, 2006.
Museum Frictions is an investigation of globalization on contemporary museum, heritage, and exhibition practice. The authors present case studies from various countries, analyzing the roles that national and community museums, museums of art and history, monuments, heritage sites, and theme parks play in creating public cultures. The authors include scholars, artists, and curators. This book would serve as an excellent source for museum display.
Kleiner, Fred S. Gardner's Art through the Ages: Non-Western Perspectives. 13th ed. Boston: Cengage Learning, 2009.
Kleiner’s book provides a collection of Non-Western artistic traditions written in easy to understand brief summaries. The book includes an online interactive study guide and a timeline. The author is highly recognized and has received many outstanding lifetime achievements. This book is a good reference for general information on Non-Western artists and provides photographs of their artwork.
Koolhass, Jeroen, and Dre Urhahn. TedTalks. http://www.ted.com/talks/haas_hahn_how_painting_can_transform_communities.
In this Ted Talk video, artists Koolhass and Urhahn discuss creating a community art project in poor areas of Rio and North Philadelphia. The artists describe the importance of understanding the other and discuss the ends and outs of applying for funding for community projects. Over the past ten years the artists have transformed many communities. I will use this video with students to explain the importance of understanding others.
Loshitzky, Yosefa. "Orientalist representations Palestinians and Arabs in some postcolonial film and literature." In Cultural Encounters Representing 'otherness', 51-71. New York: Routledge, 2000.
In this chapter, Loshitzky discusses examples of how literature and film have been used to reinforce Orientalist representations of Palestinians and Arabs. She focuses on Oz’s novel My Michael and its filmic adaptation by Volman. Loshitzky is a research professorial at the University of London. She is currently on the international advisory board of The Middle East Journal of Culture and Communication and Journalism and Mass Communication. This work shows how literature and film can affect mainstream views.
Mackenzie, Lynn. Non-Western Art: A Brief Guide. 2nd ed. Upper Saddle River: Prentice Hall, 2000.
Mackenzie’s book briefly summarizes American, African and Asian visual expressions emphasizing Non-Western cultures. It covers important events that have occurred within these areas, important people who have lived within these areas, and art that has changed during time. Mackenzie has taught Non-Western art for over a decade and art history for twenty-five years. For research on art within Non-Western areas this would be a good place to begin.
Marcus, J. (2000). “Towards an erotics of museum.” In Cultural Encounters Representing 'otherness', 229-244. New York: Routledge, 2000.
Marcus discusses how museums represent heterogeneity or homogeneity and how displays must take into consideration the intended viewers and bring them pleasure. She provides insight by using the story of the Museum of Sydney and conveying that there will always be areas of concern that the museum staff must consider when constructing an ethnographic display. Marcus is Professor of Social Anthropology and has done extensive research on women and Australian anthropology.
McCullers, Brenda. Pinterest. 2014. http://www.pinterest.com/brendamccullers/art-global-diversity/
This pinterest board includes links to all the references for this Annotated Bibliography for Art and Global Diversity. It includes links that reference authors, books, and articles of interest. I will use this board to connect to online information I have researched and will add links for further study.
Mitter, Partha. The Triumph of Modernism: India's Artists and the Avant-garde 1922-1947. London: Reaktion Books, 2007
In this book Mitter challenges the dominance of Western modernism and brings to light the history of art within India. He introduced the country’s modern art and the work of Indian artists who are little known in Europe or America. Mitter is a writer and historian of art and culture, specializing in the reception of Indian art in the West and in global modernism.
Mukherji, Parul D. "Whither Art History in a Globalizing World." The Art Bulletin 96, no. 2 (2014): 151-55.
Mukherji describes today as having many art histories, many art practices, a growing plurality of practices, and new direction terrains. From an Indian perspective, she presents problems that have occurred during the progression towards a global art history. Mukherji is a professor in New Delhi and has received many awards and honors for her work and research. This article provides insight into art education within India and the future of art history and art education.
Rampley, Matthew. "The Poetics of the Image: Art History and the Rhetoric of Interpretation."Marburger Jahrbuch für Kunstwissenschaft 35 (2008): 7-30.
In this article, Rampley includes writings of four different authors that serve as an “important critique” of the western colonialist view of art history and insight into the importance of viewing artwork from a nonbiased viewpoint. Rampley is the Chair of Art History at the University of Birmingham specializing in contemporary art, art criticism and theory. Although the point of the article is important, it is very difficult to read.
Schwarzer, Mitchell. "Origins of the Art History Survey Text." Art Journal 54, no. 3 (1995): 24-29.
In this article, Schwarzer examines the pioneers of early art historical surveys, the global survey texts, and their significance and importance. He also points out work that established the standards for global survey texts of today. Schwarzer is an architectural and urban historian and professor at the California College Of The Arts. This article provides insight into the future of art history and art education.
Smith, Terry. "The State of Art History: Contemporary Art." The Art Bulletin 92, no. 4 (2010): 366-83.
In this article Terry Smith sets out to introduce contemporary art as a field of critical, theoretical, historical, and art historical inquiry. He discusses the complications; the development of contemporary art; the omission of contemporary art in survey textbooks; the struggles of museum curators; and ideas toward incorporating contemporary art within art history. Terry Smith is Professor of Contemporary Art History and Theory, University of Pittsburgh and has received many awards for his work. This a good article to reference regarding the inclusion of contemporary art within art history.
Summers, David. Real Spaces: World Art History and the Rise of Western Modernism. London: Phaidon, 2003.
Summers divides the world into two spaces: real and virtual space. Real space being the actual space people live in and virtual space being the space we seem to see. He constructs a framework to help people view all traditions equally while at the same time grasping an understanding of conflicts and differences within and between cultures. Summers is the Professor of the History of Art at the University of Virginia and is internationally recognized as one of the most distinguished historians of art and ideas of his generation. The book has received excellent editorial reviews.
Van Damme, Wilfried, and Kitty Zilmans, eds. World Art Studies: Exploring Concepts and Approaches. Amsterdam: Valiz, 2008.
This book explores art beyond the traditional Western representations of the past. It provides the reader with a collection of diverse perspectives on global approaches to art history as well as case studies and methods of investigation. The editors are art history scholars, authors, and involved in the formation of art theory in the discipline of the History of Art.
Winegar, Jessica. "Cultural Sovereignty in a Global Art Economy: Egyptian Cultural Policy and the New Western Interest in Art from the Middle East." Cultural Anthropology 21, no. 2 (May 2006): 173-204.
Winegar describes areas of controversy between Western elites and Egyptian state elites as they try to work together for the rights to represent and market Egypt. She gives a personal account that provides a clear picture of the influence of global art through examples and descriptions. Winegar is Assistant Professor of Anthropology at Northwestern University and an award-winning author. This article is a good reference for the affects of globalization within the art world.
Wu, Chin-Tao. Privatising Culture. New York: Verso, 2002.
This book features various ways in which businesses and corporations in Great Britain and American have infiltrated visual arts since the 1980s. Wu specializes in contemporary art and culture and is a full-time academic researcher. Her work is an excellent reference for studying the influence of corporations within the art world.
This book is an exhaustive investigation of the effects of globalism on art and art history. It consists of over two hundred papers, written for the 32nd International Congress in the History of Art conference, by art historians representing twenty-five countries. It addresses all areas of art and investigates the challenges that art has faced throughout history. The conference chairperson, Jaynie Anderson is the book’s editor. I believe this book useful as it provides scholarly research.
Archer, Michael. Art Since 1960. 2nd ed. London: Thames & Hudson, 2002.
This updated survey discusses the modernization of art since 1960 and its globalization since the mid 1990’s. It covers many styles, artists, and art museums. Archer is an art critic and has published many essays on contemporary art in various books and art journals. This book provides a good overview of the evolution of modern art.
Ardouin, Claude, and Hans Belting. Contemporary Art and the Museum: A Global Perspective. Berlin: Hatje Cantz, 2007.
This collection of writings explores the impact of contemporary non-western art and the world’s local museums. The articles, written by art critics, anthropologists, and museum curators, provide first hand testimonies regarding the present situation within the world of art.
Belting, Hans. "Contemporary Art as Global Art A Critical Estimate." The Global Art World (2009).
In this article, Belting discusses global art beginning at the end of the twentieth century. He examines the problems created by art on a global scale and how it can open unprecedented possibilities for artists, creating a new enthusiasm among them. Belting writes from the point of view of an art historian and theorist of contemporary art. This is a useful study on global art and its relationship to contemporary art, modern art, as well as art history.
Belting, Hans, and Peter Weibel. GAM – Global Art and the Museum. http://www.globalartmuseum.de/site/about_us.
This website, started by leading scholars in the field, documents the disputed boundaries of today’s art world, encourages discussion of globalizations’ affects on art, and provides relevant information on the development and progress of global art. It includes listings and links for recommended publications, lectures, conferences, etc. This is a good resource that provides a wealth of information.
Bois, Yve-Alain, Benjamin H. Buchloh, Hal Foster, David Joselit, and Rosalind Krauss. Art Since 1900: Modernism Antimodernism Postmodernism. New York: Thames & Hudson, 2011.
The authors introduce the many voices of art through short essays that focus on the diversity of practice for specific events and works within art history. The book contains more than 600 works listed in chronological order and addresses questions regarding the preceding decades. The authors are all scholars in the field of art and the book has received good reviews.
Branham, Joan R. "Sacrality and Aura in the Museum: Mute Objects and Articulate Space."The Journal of the Walters Art Gallery 53 (1995): 33-47.
In this article, Branham focuses on the theories and problems associated with the presentation of sacred objects within museums. She points out the many areas of concern that museum staff must consider when constructing a space for religious or sacred objects and explains that there will always be areas of tension that need to be addressed. Branham is Professor of Art History and has done extensive research in the area of Sacred Space. This is a good reference for preparing displays or exhibits that include sacred and/or religious objects.
Brown, Michael F. Who Owns Native Culture? Cambridge: Harvard University Press, 2004.
Brown creatively uses legal cases to bring light to cultural ownership, group privacy, intellectual property, and the recovery of indigenous identities. Within the book he focuses on issues relating to art and sacred places providing insight into native cultural issues important to the art community.
Carrier, David. A World Art History and Its Objects. University Park: Penn State University Press, 2009.
Carrier, an art historian and philosopher, addresses the possibility of writing a world art history of all cultures. He discusses artistic traditions from different cultures meeting together and suggests introducing chronological narratives as a way to start to understand a multicultural art history.
Dean, Carolyn. "The Trouble with (The Term) Art." Art Journal 65, no. 2 (2006): 24-32.
In this article, Dean discusses various consequences of identifying art in societies where the concept of art did not or does not exist and shares her conclusions. She indicates the definition of the term art needs redefining and the discipline of art history needs re-evaluation and re-construction. Her opinions are strongly based on her work within the Incan culture and at times it seemed as if her concern is to push forth her personal work. This article is a good reminder to not look at another culture’s artwork with a preconceived idea as to how it should look.
Elkin, James. Is Art History Global? New York: Routledge, 2007.
This book presents conversations between prominent art historians and critics concerning the practice and responsibility of global thinking within the discipline of art. The topics include political, economic, philosophic, linguistic, and personal matters. Elkins is a prominent art historian and author of required reading for both postgraduate and master courses in the arts. This book will be one to reference, as it presents different views and perspectives on globalization and art.
Elkins, James, Alice Kim, and Zhivka Valiavicharska, eds. Art and Globalization (The Stone Art Theory Institutes). University Park: Pennsylvania State University Press, 2010.
This book includes dialogues, debates, personal responses and concerns with the visual arts and the globalization in art. Input is from political and cultural theorists, writers and historians, artists, scholars, and critics. The editors are scholars within the art field. I believe this book will be one to reference, as it presents different views and perspectives on globalization and art.
Elkin, James. Stories of Art. New York: Routledge, 2002.
In this book, Elkin familiarizes readers with the art of different cultures by sharing art history through literary stories instead of through an art textbook format. He incorporates Non-Western art with Western art and answers questions regarding race, gender, sexuality, etc. Elkins is Associate Professor in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. This book deserves further research and could be a nice addition to reference for teaching art.
Enwezor, Okwui. "The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition." Research in African Literatures 34, no. 4 (2003): 57-82.
In this article Enwezor examines postcolonial contemporary art in Africa. He discusses the globalization of art and how it has contested the traditional approach to art history. Enwezor is a Nigerian curator, art critic, writer, poet, and educator, specializing in art history. He is considered one of the top one hundred most powerful people within the art world.
Enwezor, Okwui, and Chika Okeke-Agulu. Contemporary African Art Since 1980. Bologna: Damiani, 2009.
This survey includes over 200 contemporary African artists whose practices represent the social and cultural difficulties of the continent. The book covers political influence, artists’ responses, and an extensive compilation of events, movements, and institutions. Both authors are Nigerian curators and art historians. I believe this book will be a good overview of contemporary African art.
Flood, Finbarr B. "Between Cult and Culture: Bamiyan, Islamic Iconoclasm, and the Museum." The Art Bulletin 84, no. 4 (December 2002): 641-59.
In this article, Flood explains how Islamic iconoclasm has been used to validate authority and manipulate the masses. He explores the defacing of artwork by Islam throughout history and the destruction of the Bamiyan Buddhas in 2011. He presents art as a way to influence others and indicates that people fashion their own identity and opinions by how they view others. Flood is Professor of the Humanities at NYU and has received many awards and honors for his teaching and writing.
Graham, Mark M. "The Future of Art History and the Undoing of the Survey." Art Journal 54, no. 3 (1995): 30-34.
Graham critiques areas in the structure of the survey and of art history concerning canonicity, chronology, closure, and subjectivity. His findings have led him to believe that the survey’s past focus on the art of the West has led to a canon presenting artistic and moral superiority. He suggests where reform and changes are needed, as well as new ways to introduce students to art history. Graham is Associate Dean and Professor Art History at Auburn University. This article provides insight into the future of art history and art education.
Greenblatt, Stephen. "Resonance and Wonder." Bulletin of the American Academy of Arts and Sciences 43, no. 4 (January 1990): 11-34.
Greenblatt examines two separate models for art exhibition in this writing: resonance and wonder. Resonance is about an objects relation to “a dense network of evolving and often contradictory social forces.” Wonder refers to the quality of an art object to grasp an exalted attention while generating surprise and attention. Greenblatt is a Harvard Professor and Pulitzer Prize winning author. This work is an excellent reference for understanding museum display.
Greenblatt, Stephen. The Swerve: How the World Became Modern. New York: W. W. Norton & Company, 2011.
This book is an example of how the other, who in this case is one believing religion is harmful and damaging and can cause “the world to swerve and change philosophical direction.” Greenblatt is a Harvard Professor and “The Swerve” was winner of the 2012 Pulitzer Prize and 2011 National Book Award for Nonfiction.
Groys, Boris. Art Power. Cambridge: The MIT Press, 2013.
In this book Groys, a Professor of Russian and Slavic Studies at New York University, discusses art being used as a commodity or as a tool of political propaganda. This reading seems somewhat controversial in that Groys appears to seek a political art practice.
Hallam, Elizabeth, and Brian Street. Introduction to Cultural Encounters Representing 'otherness', 1-10. New York: Routledge, 2000.
In the introduction of this book, the authors walk the reader through areas of concern that have arisen with the presentation of otherness in visual, textual and museum representations. It provides an understanding of the importance of studying and researching otherness. Hallam and Street are both professors at prominent colleges and done extensive research in cross-cultural perspective.
Hallam, Elizabeth. “Texts, objects and ‘otherness’ Problems of historical process in writing and displaying cultures. In Cultural Encounters Representing 'otherness', 261-283. New York: Routledge, 2000.
Chapter eleven expands on investigating how texts and objects relate to each other within certain fields of research and in museum practices. It provides a clear view of how to alleviate problems through careful thought and preparation. Elizabeth Hallam is a Research Associate in the School of Anthropology and Museum Ethnography, University of Oxford. This reading provides insight into the importance of how we present the other without bias and as equal.
Hung, Wu. Chinese Art at the Crossroads: Between Past and Future, Between East and West. Honolulu: University of Hawaii Press, 2002.
In this book Wu Hung edits and organizes images, essays, interviews, roundtable discussions, eyewitness accounts and biographies from Chinese-art.com. It includes insight from art critics within China and from scholars outside of China. Hung’s work is a good reference for globalization within the Chinese art world.
Kampen-O'Riley, Michael. Art Beyond the West. 3rd ed. Upper Saddle River: Pearson, 2012
In this book Kampen-O’Riley surveys the arts that lie outside of the Western tradition from pre-history to present. He points out the essentials and the ideals, beliefs, and principles that shaped the art and thought of each of the cultures discussed. Kampen O’Riley is a Professor Emeritus, University of North Carolina. This book would serve as an excellent source for reference.
Karp, Ivan, and Corinne A. Kratz. "Reflections on the fate of Tippoo's Tiger Defining cultures through public display'." International.Emory.edu 2000.http://international.emory.edu/karp_archive/pdfs/2000_reflections_on_the_fate_of_tippoos_tiger.pdf.
In this article the authors discuss how the cultural identity of others is represented in displays. They explain how ethnographic displays can be found in various places and are all created to address the viewer’s identity, a premise of self and other. The authors confirm the importance of understanding that all people are an other among others. Karp was instrumental in the emergence of pop art in the 1960s. Kratz is Professor of Anthropology and African Studies at Emory University and focuses on culture and communication.
Karp, Ivan, Corinne A. Kratz, Lynn Szwaja, and Thomas Ybarra-Frausto. Museum Frictions: Public Cultures/Global Transformations. Durham: Duke University Press, 2006.
Museum Frictions is an investigation of globalization on contemporary museum, heritage, and exhibition practice. The authors present case studies from various countries, analyzing the roles that national and community museums, museums of art and history, monuments, heritage sites, and theme parks play in creating public cultures. The authors include scholars, artists, and curators. This book would serve as an excellent source for museum display.
Kleiner, Fred S. Gardner's Art through the Ages: Non-Western Perspectives. 13th ed. Boston: Cengage Learning, 2009.
Kleiner’s book provides a collection of Non-Western artistic traditions written in easy to understand brief summaries. The book includes an online interactive study guide and a timeline. The author is highly recognized and has received many outstanding lifetime achievements. This book is a good reference for general information on Non-Western artists and provides photographs of their artwork.
Koolhass, Jeroen, and Dre Urhahn. TedTalks. http://www.ted.com/talks/haas_hahn_how_painting_can_transform_communities.
In this Ted Talk video, artists Koolhass and Urhahn discuss creating a community art project in poor areas of Rio and North Philadelphia. The artists describe the importance of understanding the other and discuss the ends and outs of applying for funding for community projects. Over the past ten years the artists have transformed many communities. I will use this video with students to explain the importance of understanding others.
Loshitzky, Yosefa. "Orientalist representations Palestinians and Arabs in some postcolonial film and literature." In Cultural Encounters Representing 'otherness', 51-71. New York: Routledge, 2000.
In this chapter, Loshitzky discusses examples of how literature and film have been used to reinforce Orientalist representations of Palestinians and Arabs. She focuses on Oz’s novel My Michael and its filmic adaptation by Volman. Loshitzky is a research professorial at the University of London. She is currently on the international advisory board of The Middle East Journal of Culture and Communication and Journalism and Mass Communication. This work shows how literature and film can affect mainstream views.
Mackenzie, Lynn. Non-Western Art: A Brief Guide. 2nd ed. Upper Saddle River: Prentice Hall, 2000.
Mackenzie’s book briefly summarizes American, African and Asian visual expressions emphasizing Non-Western cultures. It covers important events that have occurred within these areas, important people who have lived within these areas, and art that has changed during time. Mackenzie has taught Non-Western art for over a decade and art history for twenty-five years. For research on art within Non-Western areas this would be a good place to begin.
Marcus, J. (2000). “Towards an erotics of museum.” In Cultural Encounters Representing 'otherness', 229-244. New York: Routledge, 2000.
Marcus discusses how museums represent heterogeneity or homogeneity and how displays must take into consideration the intended viewers and bring them pleasure. She provides insight by using the story of the Museum of Sydney and conveying that there will always be areas of concern that the museum staff must consider when constructing an ethnographic display. Marcus is Professor of Social Anthropology and has done extensive research on women and Australian anthropology.
McCullers, Brenda. Pinterest. 2014. http://www.pinterest.com/brendamccullers/art-global-diversity/
This pinterest board includes links to all the references for this Annotated Bibliography for Art and Global Diversity. It includes links that reference authors, books, and articles of interest. I will use this board to connect to online information I have researched and will add links for further study.
Mitter, Partha. The Triumph of Modernism: India's Artists and the Avant-garde 1922-1947. London: Reaktion Books, 2007
In this book Mitter challenges the dominance of Western modernism and brings to light the history of art within India. He introduced the country’s modern art and the work of Indian artists who are little known in Europe or America. Mitter is a writer and historian of art and culture, specializing in the reception of Indian art in the West and in global modernism.
Mukherji, Parul D. "Whither Art History in a Globalizing World." The Art Bulletin 96, no. 2 (2014): 151-55.
Mukherji describes today as having many art histories, many art practices, a growing plurality of practices, and new direction terrains. From an Indian perspective, she presents problems that have occurred during the progression towards a global art history. Mukherji is a professor in New Delhi and has received many awards and honors for her work and research. This article provides insight into art education within India and the future of art history and art education.
Rampley, Matthew. "The Poetics of the Image: Art History and the Rhetoric of Interpretation."Marburger Jahrbuch für Kunstwissenschaft 35 (2008): 7-30.
In this article, Rampley includes writings of four different authors that serve as an “important critique” of the western colonialist view of art history and insight into the importance of viewing artwork from a nonbiased viewpoint. Rampley is the Chair of Art History at the University of Birmingham specializing in contemporary art, art criticism and theory. Although the point of the article is important, it is very difficult to read.
Schwarzer, Mitchell. "Origins of the Art History Survey Text." Art Journal 54, no. 3 (1995): 24-29.
In this article, Schwarzer examines the pioneers of early art historical surveys, the global survey texts, and their significance and importance. He also points out work that established the standards for global survey texts of today. Schwarzer is an architectural and urban historian and professor at the California College Of The Arts. This article provides insight into the future of art history and art education.
Smith, Terry. "The State of Art History: Contemporary Art." The Art Bulletin 92, no. 4 (2010): 366-83.
In this article Terry Smith sets out to introduce contemporary art as a field of critical, theoretical, historical, and art historical inquiry. He discusses the complications; the development of contemporary art; the omission of contemporary art in survey textbooks; the struggles of museum curators; and ideas toward incorporating contemporary art within art history. Terry Smith is Professor of Contemporary Art History and Theory, University of Pittsburgh and has received many awards for his work. This a good article to reference regarding the inclusion of contemporary art within art history.
Summers, David. Real Spaces: World Art History and the Rise of Western Modernism. London: Phaidon, 2003.
Summers divides the world into two spaces: real and virtual space. Real space being the actual space people live in and virtual space being the space we seem to see. He constructs a framework to help people view all traditions equally while at the same time grasping an understanding of conflicts and differences within and between cultures. Summers is the Professor of the History of Art at the University of Virginia and is internationally recognized as one of the most distinguished historians of art and ideas of his generation. The book has received excellent editorial reviews.
Van Damme, Wilfried, and Kitty Zilmans, eds. World Art Studies: Exploring Concepts and Approaches. Amsterdam: Valiz, 2008.
This book explores art beyond the traditional Western representations of the past. It provides the reader with a collection of diverse perspectives on global approaches to art history as well as case studies and methods of investigation. The editors are art history scholars, authors, and involved in the formation of art theory in the discipline of the History of Art.
Winegar, Jessica. "Cultural Sovereignty in a Global Art Economy: Egyptian Cultural Policy and the New Western Interest in Art from the Middle East." Cultural Anthropology 21, no. 2 (May 2006): 173-204.
Winegar describes areas of controversy between Western elites and Egyptian state elites as they try to work together for the rights to represent and market Egypt. She gives a personal account that provides a clear picture of the influence of global art through examples and descriptions. Winegar is Assistant Professor of Anthropology at Northwestern University and an award-winning author. This article is a good reference for the affects of globalization within the art world.
Wu, Chin-Tao. Privatising Culture. New York: Verso, 2002.
This book features various ways in which businesses and corporations in Great Britain and American have infiltrated visual arts since the 1980s. Wu specializes in contemporary art and culture and is a full-time academic researcher. Her work is an excellent reference for studying the influence of corporations within the art world.
