- ‘Criteria of Periodization in the History of European Art’ (1954), New Literary History 1, no. 2 (Winter 1970), 113.
- A Singular Modernity: Essay on the Ontology of the Present (New York: Verso, 2002), 81.
- Foucault referred to the state of knowledge, the regime of truth, of a particular period and culture as its episteme. An episteme is constructed through a system of discursive statements, and especially through the ‘dispersal’ of those statements across contradictions and logical discontinuities to form discursive formations. See Michel Foucault, The Archaeology of Knowledge (1969) (New York: Pantheon Books, 1972), 38. ‘By episteme’, Foucault writes, ‘we mean, in fact, the total set of relations that unite, at a given period, the discursive practices that give rise to epistemological figures, sciences, and possibly formalized systems; the way in which, in each of these discursive formations, the transitions to epistemologization, scientificity, and formalization are situated and operate; the distribution of these thresholds, which may coincide, be subordinated to one another, or be separated by shifts in time; the lateral relations that may exist between epistemological figures or sciences insofar as they belong to neighboring, but distinct, discursive practices. The episteme is not a form of knowledge (connaissance) or type of rationality which, crossing the boundaries of the most varied sciences, manifests the sovereign unity of a subject, a spirit, or a period; it is the totality of relations that can be discovered, for a given period, between the sciences when one analyses them at the level of discursive regularities.’ (191).
- See David Harvey, The New Imperialism (London: Oxford University Press, 2003) and A Brief History of Neoliberalism (London: Oxford University Press, 2005).
- By ‘hegemonic formation’, I refer to what Chantal Mouffe describes as ‘an ensemble of relatively stable social forms, the materialization of a social articulation in which different social relations react reciprocally either to provide each other with mutual conditions of existence, or at least to neutralize the potentially destructive effects of certain social relations on the reproduction of other such relations’. Chantal Mouffe, ‘Hegemony and New Political Subjects: Toward a New Concept of Democracy’ (1988), in Kate Nash, Readings in Contemporary Political Sociology (Oxford: Blackwell, 2000), 297.
- Ibid.
- Michael Denning, Culture in the Age of Three Worlds (New York: Verso, 2004), 11. Denning, who observes that the term ‘globalization’ displaced ‘international’ in the late 1980s, places the term firmly within the period theorised in this paper: ‘One of the key words of the last decade of the twentieth century was “globalization”. Though the Oxford English Dictionary places the first use of the word in 1961, there are hundreds of books with the word in their titles in the 1990s; it appears that the first book to use it in its title was published in 1988.’ (17).
- Francis Fukuyama, The End of History and the Last Man (New York: Free Press, 1992).
- Martha Rosler cited in Tim Griffin, ‘Global Tendencies: Globalism and the Large-Scale Exhibition’, Artforum 42, no. 3 (November 2003), 154.
- Ibid., 161.
- Okwui Enwezor cited in Tim Griffin, ‘Global Tendencies: Globalism and the Large-Scale Exhibition’, Artforum 42, no. 3 (November 2003), 163.
- As Khaled Hafez writes, ‘Today I am able to discern, locally in Egypt (and also the Middle East), two types of practices that describe two different perceptions of art: on the one hand there are the artists who still approach and tackle art with the “aesthetics” mindset, and those are the natural descendants of local pioneers and avant-gardes. On the other hand, there is a group of Middle East artists with an eye on the international art scene, approaching art with the very same concepts and perceptions of other “international artists”, i.e., they speak the international language that art professionals speak all over the world… gradually abolishing “cultural specificities” along the way.’ Khaled Hafez, in ‘Quarterly Feature: Khaled Hafez’, ArteNews, January 2007, http://www.arteeast.org/artenews/artenews-articles2007/1-special-issue-jan07/artenews-khaled-hafez.html. For examples of artwork that draws attention to the many geopolitical barriers that still exist in the era of globalisation, see Ursula Biemann's video essay ‘Performing the Border’ (1999), set in the Mexican-US border town of Ciudad Juarez, where US multinational corporations assemble electronic and digital equipment; Yto Barrada's The Strait Project: A Life Full of Holes, 1998–2004 (Cologne: Schaden, 2005), which examines the highly patrolled Strait of Gibraltar; and Emily Jacir's Where We Come From (2003), on the many restrictions on and around the West Bank. For tactical media projects, see RTMark. com and bureaudetudes.free.fr. For the drawings of Mark Lombardi, see Robert Hobbs, Mark Lombardi: Global Networks (New York: Independent Curators International, 2003).
- For a history of the Internet and the World Wide Web see Janet Abbate, Inventing the Internet (Cambridge, Mass.: MIT Press, 2000), and James Gillies and Robert Cailliau, How the Web Was Born (Oxford: Oxford University Press, 2000).
- See Susan Buck-Morss, ‘Visual Studies and Global Imagination’, Papers on Surrealism 2 (Summer 2004), 1–29.
- See, for example, William Kentridge's Felix in Exile (1994) or History of the Main Complaint (1996), and Walid Raad's Hostage: The Bachar Tapes (2000). Raad established The Atlas Group project in 1999 to research the contemporary history of Lebanon.
- Sean Cubitt, ‘Transient Media’, paper presented at the 32nd Congress of the International Committee of the History of Art, Melbourne, 2008, in the session ‘New Media Across Cultures: from Gutenberg to Google, 1450–2008’.
- Peter Bürger, Theory of the Avant-Garde (1974), trans. M. Shaw (Minneapolis: University of Minnesota Press, 1984).
- Okwui Enwezor, ‘The Black Box’, Documenta 11_Plattform 5:Ausstellung Katalog (Ostfildern: Hatje Cantz Verlag, 2002), 47.
- Nicolas Bourriaud, Relational Aesthetics (1998), (Dijon: Les presses du reel, 2002).
- Jacques Rancière, ‘The Distribution of the Sensible’ (2000), in The Politics of Aesthetics, trans. Gabriel Rockhill (London: Continuum, 2004), 29.
- A plethora of books that focus on beauty have been published in the past two decades. These include Dave Hickey, The Invisible Dragon: Four Essays on Beauty (Los Angeles: Art Issues Press, 1993); Bill Beckley and David Shapiro, eds., Uncontrollable Beauty: Toward a New Aesthetics (New York: Allworth Press, 1998); Elaine Scarry, On Beauty and Being Just (Princeton and Oxford: Princeton University Press, 1999); and Arthur Danto, The Abuse of Beauty (New York: Open Court, 2003).
- Jeff Wall, ‘Jeff Wall: Artist's Talk’, Tate (London) Online Events, 25 October 2005, http://www.tate.org.uk/onlineevents/webcasts/jeff_wall_artists_talk.
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