- David Harvey, The Condition of Postmodernity (Oxford: Blackwell, 1989).
- Lester C. Thurow, ‘Globalization: The Product of a Knowledge-based Economy’, Annals: American Academy of Political and Social Science 570 (2000), 19–31.
- See, for example, Lisa Jardine and Jerry Brotton, Global Interests: Renaissance Art between East and West (London: Reaktion Books, 2000); Thomas da Costa Kaufmann, Toward a Geography of Art (Chicago: University of Chicago Press, 2004); John Onians, ed., Atlas of World Art (London: Oxford University Press, 2004); David Summers, Real Spaces: World Art History and the Rise of Western Modernism (London: Phaidon, 2003). Also see James Elkins, ‘Review: Real Spaces: World Art History and the Rise of Western Modernism’, The Art Bulletin 86, no. 2 (2004), 373–81. Summers argues that ‘all art has a certain universality’ because it must always respect ‘the universal conditions of real spatiality’. Accordingly, he suggests replacing the notion of the visual arts with that of the spatial arts (38, 41). In response, Elkins argues that space is not, however, a universal concept. Indeed, even where the concept has general relevance, it is not necessarily respected in any meaningful way within the realm of art production. Yoko Ono's Voice Piece for Soprano (1961)—Scream. 1. against the wind; 2. against the wall; 3. against the sky—is just one example of a conceptual work that is blatantly disrespectful of ‘real space’. For similar examples, see Liz Kotz, ‘Post-Cagean Aesthetics and the “Event” Score’, October 95 (2001), 54–89.
- Johann Joachim Winckelmann, The History of Ancient Art, trans. G. H. Lodge (1880), in Essays on the Philosophy and History of Art, vol. 2–3, ed. C. Bowman (London: Continuum, 2005).
- Ibid., 107.
- Ibid., 108.
- ‘But where are we taught the points in which the beauty of a statue consists?’ Ibid., 108.
- G. W. F. Hegel, ‘Philosophy of Fine Art’, in Art and its Significance: An Anthology of Aesthetic Theory, ed. S. D. Ross (Albany: State University of New York Press, 1994), 147.
- Ibid., 148.
- Ibid., 147–48.
- Johann Joachim Winckelmann, Reflections on the Painting and Sculpture of the Greeks: With Instructions for the Connoisseur, and an Essay on Grace in Works of Art, trans. H. Fuseli (1763), in Essays on the Philosophy and History of Art, vol. 1, ed. C. Bowman (London: Continuum, 2005), 2.
- G. W. F. Hegel, Elements of the Philosophy of Right, ed. Allen W. Wood, trans. H. B. Bisnet (Cambridge: Cambridge University Press, 1991). See also Friedrich Meinecke, Cosmopolitanism and the National State, trans. R. B. Kimber (Princeton: Princeton University Press, 1970), 197–202.
- Jean-François Lyotard, The Postmodern Condition: A Report on Knowledge, trans. G. Bennington and B. Massumi (Minneapolis: University of Minnesota Press, 1984), 39.
- Ibid., 46.
- Ibid., 62–63.
- ‘By terror I mean the efficiency gained by eliminating, or threatening to eliminate, a player from the language game one shares with him. He is silenced or consents, not because he has been refuted, but because his ability to participate has been threatened… The decision makers’ arrogance… consists in the exercise of terror. It says: “Adapt your aspirations to our ends—or else”.’ Ibid., 63–64.
- Ibid., 66–67.
- Elkins 2004, 377. The essay was recently republished as a chapter entitled ‘On David Summers's Real Spaces’, in Is Art History Global?, ed. James Elkins (New York: Routledge, 2007), 41–71.
- Elkins, 2004, 377.
- Ibid., 377–78.
- Ibid., 378.
- Ibid.
- Elkins, 2007, 20.
- Although Elkins recognises that European and North American art history is riven with differences, such as that between those who value ‘theory’ and those who value ‘history’, he believes that such internal differences are not insuperable and do not seriously detract from what he sees as a shared canon and shared art-historical narratives. Ibid., 11–23.
- Santiago Castro-Gómez, ‘The Missing Chapter of Empire: Postmodern Reorganization of Coloniality and Post-Fordist Capitalism’, Cultural Studies 21, no. 2–3 (2007), 428–48.
- In response to Elkins, Andrea Giunta suggests that his interest in the survey text may come from a parochial desire based on particular regional teaching methods. She notes a ‘lack of interest in a generalized or global history of Latin American art. In my courses on Latin American Art from the nineteenth and twentieth century I do not use global art histories as textbooks. (Instead, I prepare reading lists.)’ Andrea Giunta, ‘Notes on Art History in Latin America’, in Elkins, 2007, 27–39, especially 37.
- A prominent example within recent art history of a similar ‘equalising’ principle being enforced was Jean-Hubert Martin's 1989 exhibition Magiciens de la Terre, which displayed the work of fifty artists from the so-called ‘centres’ of the art world and fifty from the ‘margins’. Unfortunately, Martin's equalising principle only served to reinforce the distinction between central and marginal art practices. See Jean-Hubert Martin, interview with Benjamin Buchloh, ‘The Whole Earth Show’, Art in America 77, no. 5 (May 1989), 150–59, 211, 213.
- Cf. Okwui Enwezor, ‘The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition’, Research in African Literatures 34, no. 4 (2003), 69. ‘[T]he conditions of production and reception of contemporary art evince a dramatic multiplication of its systems of articulation to the degree that no singular judgment could contain all its peculiarities.’
- Terry Smith, ‘The Provincialism Problem’, Artforum 12, no. 1 (1974), 54–59. Smith was studying in New York at the time of publication.
- Terry Smith, Transformations in Australian Art, two volumes (St. Leonards, N.S.W.: Craftsman House, 2002). Major works published in Australia by Charles Green and Rex Butler have also not managed to find places in the collection. The British Library does hold copies of key texts by Howard Morphy and Ian McLean that were published in the UK (and thus would have entered the collection automatically). As an exception to the collection's general tendency, Ian Burn's Dialogue: Writings in Art History (Sydney: Allen & Unwin, 1991), and various works by Janine Burke, also appear on the catalogue.
- Elkins, 2004, 378.
- See Judith Butler's introductory comment in Judith Butler, Ernesto Laclau, and Slavoj Žižek, Contingency, Hegemony, Universality: Contemporary Dialogues on the Left (London: Verso, 2000), 11; and Žižek's description of the philosophical inheritance of Alain Badiou, Étienne Balibar, Jacques Rancière, and Ernesto Laclau in Slavoj Žižek, The Ticklish Subject: The Absent Centre of Political Ontology (London: Verso, 2000), 171–74.
- Numerous examples of this trajectory could be cited. One particularly strong example that encompassed a range of identity-based concerns was Elisabeth Sussman's 1993 Whitney Biennial. The more recent dilation of focus onto issues of displacement and globalisation is exemplified by Okwui Enwezor's 2002 Documenta 11 and Charles Merewether's 2006 Biennale of Sydney, Zones of Conflict. See respectively, Elisabeth Sussman, ‘Coming Together in Parts: Positive Power in the Art of the Nineties’, in 1993 Biennial Exhibition, ed. Elisabeth Sussman (New York: Whitney Museum of American Art and Harry N. Abrams, 1993), 12–25; Okwui Enwezor, ‘The Black Box’, in Documenta 11_Platform5: Exhibition: Catalogue, ed. Okwui Enwezor et al. (Ostfildern-Ruit: Hatje Cantz, 2002), 42–55; Charles Merewether et al., Zones of Contact: 2006 Biennale of Sydney (Sydney: Biennale of Sydney, 2006). Michael Archer also distinguishes and separately periodises identity-based concerns and those relating more directly to globalisation in his survey text Art Since 1960 (London: Thames & Hudson, 2002).
- See, for example, Theodor W. Adorno, in Aesthetic Theory, ed. G. Adorno and R. Tiedemann, trans. R. Hullot-Kentor (Minneapolis: University Of Minnesota Press, 1997), 4: ‘Aesthetic identity seeks to aid the nonidentical, which in reality is repressed by reality's compulsion to identity’. Difference (or non-identity) has an absolutely crucial place in Adorno's aesthetic theory, both within aesthetic production and experience and in relation to history and the realisation of utopia.
- Kwame Anthony Appiah, Cosmopolitanism: Ethics in a World of Strangers (London: Penguin Books, 2007), 85.
- For statistics and developmental graphs see Larissa Buchholz and Ulf Wuggenig, ‘Cultural Globalization between Myth and Reality: The Case of the Contemporary Visual Arts’, http://artefact.mi2.hr/_a04/lang_en/theory_buchholz_en.htm (accessed 2 June 2006).
- Cf. Skrbis, Kendall, and Woodward's description of cosmopolitanism as a ‘subjective outlook, attitude or practice…associated with a conscious openness to the world and to cultural differences’. Zlatko Skrbis, Gavin Kendall, and Ian Woodward, ‘Locating Cosmopolitanism: Between Humanist Ideal and Grounded Social Category’, Theory, Culture & Society 21, no. 6 (2004), 117.
- The connection between the upsurge of contemporary art biennales and cosmopolitanism is one of the guiding principles of Charlotte Bydler, The Global Art World Inc.: On the Globalization of Contemporary Art (Uppsala: Acta Universitatis Upsaliensis, 2004).
- On Sierra's work and political antagonism, see Claire Bishop, ‘Antagonism and Relational Aesthetics’, October 110 (2004), 70–79.
- Cf. Ernesto Laclau: ‘The important question is this: accepting entirely that the Absolute Spirit has no positive content of its own, and is just the succession of all dialectical transitions, of its impossibility of establishing a final overlapping between the universal and the particular—are these transitions contingent or necessary?’ Butler, Laclau, and Žižek (2000), 60.
- Laclau in Butler, Laclau, and Žižek, 63–64.
- Žižek, 2000, 84. Italics in the original.
- Ibid., 96.
- Ibid., 171–72. Among the many who agree with Žižek here—Laclau, Judith Butler, Jacques Rancière, Alain Badiou, Étienne Balibar—most dispute his maintenance of Hegel, arguing that the latter's work requires a degree of modification.
- Appiah, 2007, 151.
- Let's not forget that Sierra's marker of social and cultural difference is nothing other than the principal metaphor of fashionable ditziness in Western society: blonde hair-dye.
- Mike Featherstone, ‘Cosmopolis: An Introduction’, Theory, Culture & Society 19, no. 1–2 (2002), 5. Buchholz and Wuggenig (2006) have also expressed their fear that the apparent globalisation of Biennale culture might involve a neo-imperialistic cultural penetration of indigenous elites.
- Walter D. Mignolo, ‘The Many Faces of Cosmo-Polis: Border Thinking and Critical Cosmopolitanism’, Public Culture 12, no. 3 (2000), 721–48. Cf. ‘Cosmopolitanism is not a circle created by culture diffused from a center, but instead… centers are everywhere and circumferences nowhere.’ Sheldon Pollock, Homi K. Bhabha, Carol A. Breckenridge, and Dipesh Chakrabarty, ‘Cosmopolitanisms’, Public Culture 12, no. 3 (2000), 587–88.
- Cf. Butler: ‘The fear, of course, is that what is named as universal is the parochial property of imperial expansion’. Butler, Laclau, and Žižek, 2000, 15.
- Thierry de Duve, Kant after Duchamp (Cambridge, MA: MIT Press, 1996), 141.
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