9780262043694-0262043696-Heritage and Debt: Art in Globalization (October Books)

Heritage and Debt: Art in Globalization (October Books)

ISBN-13: 9780262043694
ISBN-10: 0262043696
Author: Joselit, David
Publication date: 2020
Publisher: The MIT Press
Format: Hardcover 344 pages
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Book details

ISBN-13: 9780262043694
ISBN-10: 0262043696
Author: Joselit, David
Publication date: 2020
Publisher: The MIT Press
Format: Hardcover 344 pages

Summary

Acknowledged authors Joselit, David wrote Heritage and Debt: Art in Globalization (October Books) comprising 344 pages back in 2020. Textbook and eTextbook are published under ISBN 0262043696 and 9780262043694. Since then Heritage and Debt: Art in Globalization (October Books) textbook was available to sell back to BooksRun online for the top buyback price of $ 2.42 or rent at the marketplace.

Description

How global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism.

If European modernism was premised on the new―on surpassing the past, often by assigning it to the “traditional” societies of the Global South―global contemporary art reanimates the past as a resource for the present. In this account of what globalization means for contemporary art, David Joselit argues that the creative use of tradition by artists from around the world serves as a means of combatting modern art's legacy of Eurocentrism. Modernism claimed to live in the future and relegated the rest of the world to the past. Global contemporary art shatters this myth by reactivating various forms of heritage―from literati ink painting in China to Aboriginal painting in Australia―in order to propose new and different futures. Joselit analyzes not only how heritage becomes contemporary through the practice of individual artists but also how a cultural infrastructure of museums, biennials, and art fairs worldwide has emerged as a means of generating economic value, attracting capital and tourist dollars.

Joselit traces three distinct forms of modernism that developed outside the West, in opposition to Euro-American modernism: postcolonial, socialist realism, and the underground. He argues that these modern genealogies are synchronized with one another and with Western modernism to produce global contemporary art. Joselit discusses curation and what he terms “the curatorial episteme,” which, through its acts of framing or curating, can become a means of recalibrating hierarchies of knowledge―and can contribute to the dual projects of decolonization and deimperialization.

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