An anthropology of contemporary art : practices, markets, and collectors
著者
書誌事項
An anthropology of contemporary art : practices, markets, and collectors
Bloomsbury, 2018
- : pbk
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注記
Includes bibliographical references (p. [223]-245) and index
内容説明・目次
内容説明
Drawing on the exciting developments that have occurred in the anthropology of art over the last twenty years, this study uses ethnographic methods to explore shifts in the art market and global contemporary art. Recognizing that the huge diversity of global phenomena requires research on the ground, An Anthropology of Contemporary Art examines the local art markets, biennials, networks of collectors, curators, artists, patrons, auction houses, and museums that constitute the global art world.Divided into four parts - Picture and Medium; World Art Studies and Global Art; Art Markets, Maecenas and Collectors; Participatory Art and Collaboration - chapters go beyond the standard emphasis on Europe and North America to present first-hand fieldwork from a wide range of areas, including Brazil, Turkey, and Asia and the Pacific.With contributions from distinguished anthropologists such as Philippe Descola and Roger Sansi Roca, this book provides a fresh approach to key topics in the discipline. A model for demonstrating how contemporary art can be studied ethnographically, this is a vital read for students in anthropology of art, visual anthropology, visual culture, and related fields.
目次
List of Illustrations Contributors Acknowledgments Notes on Texts Introduction (Paul Van der Grijp and Thomas Fillitz) PART 1. PICTURE AND MEDIUM1.1. The Making of Images (Philippe Descola, College de France, France)1.2. To Swallow or to Get Swallowed, This is the Question: On Viewing, Viewers and Frames in the Context of 'New' Images (Paolo S. H. Favero, University of Antwerp, Belgium) PART 2. WORLD ART STUDIES AND GLOBAL ART2.1. The Design of Pictorial Ontologies: From Unstitched Imaginaries to Stitched Images (Leyla Belkaid-Neri, Parsons Paris, France) 2.2. How Global Art Came to Istanbul: The Context of the Istanbul Bienal (Danila Mayer, St. Poelten University of Applied Sciences, Austria)2.3. Concepts of 'Art World' and the Particularity of the Biennale of Dakar (Thomas Fillitz, University of Vienna, Austria) PART 3. ART MARKETS, MAECENAS AND COLLECTORS3.1. Contemporary Art in a Renaissance Setting: The Local Art System in Florence, Italy (Stuart Plattner, USA)3.2. Brazil's Booming Art Market: Calculations, Images, and the Promotionof a Market of Contemporary Art(Dayana Zdebsky de Cordova, Universidade Federal de Sao Carlos, Brazil)3.3.Awkward Art and Difficult Heritage: Nazi Collectors and Postcolonial Archives (Jonas Tinius, Humboldt-Universitat zu Berlin, Germany)3.4. Collecting Art in Asia and the Pacific (Paul Van der Grijp, Institut d'Asie Orientale, France) PART 4. PARTICIPATORY ART AND COLLABORATION4.1. Trespassing Borders: Encounters and Resistances in Performance Art (Alicja Khatchikian, University of Vienna, Austria) 4.2. Contemporary Art in the Global South: Occupation // Participation // Knowledge (Alex Flynn, Durham University, UK)4.3. The Idle Goddess: Notes about Post-Relational Anthropology and Art (Roger Sansi University of Barcelona, Spain) INDEX
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