- James Elkins, ‘Review: Real Spaces: World Art History and the Reinvention of Western Modernism’, Art Bulletin 86, no. 2, June 2004, 373.
- James Elkins, ed., Is Art History Global? (London and New York: Routledge, 2007).
- This is a point that Elkins has addressed on numerous occasions. See, for example, James Elkins, ‘Art History as a Global Discipline’, in Is Art History Global?, 3–23, and James Elkins and Michael Newman, eds., The State of Art Criticism (London and New York: Routledge, 2008).
- James Elkins, ‘Art History as a Global Discipline’, 4.
- Francis Fukuyama, The End of History and the Last Man (London and New York: Penguin, 1992).
- Hans Belting, ‘GAM: Global Art and the Museum’, Global Art and the Museum: ZKM (http://globalartmuseum.de/site/the_project_gam). For a broader analysis of his concept, see Hans Belting, ‘Contemporary Art as Global Art: A Critical Estimate’, in The Global Art World: Audiences, Markets, and Museums, ed. Hans Belting and Andrea Buddensieg (Ostfildern: Hatje Cantz, 2009), 38–73.
- Another exception here would be the previous issue of the Australian and New Zealand Journal of Art (9, no. 1–2, 2008–9) that was dedicated to ‘twenty-first century art history’ and in which artworks regained some currency within this otherwise almost exclusively theoretical discourse.
- On the ‘shift’ (if indeed there is a shift) from birth place to place-of-residence as the key factor in determining the contemporary art-historical canon's constitution—and thus the awareness that postcolonialism has barely rippled the normative functioning of art history and its markets—see Chin-tao Wu, ‘Biennales sans Frontières’, New Left Review 57, May-June 2009, 107–15.
- The first example derives from Storr's exhibition Think with the Senses, Feel with the Mind: Art in the Present Tense at the 2007 Venice Biennale, involving Nedko Solakov's wall drawings and Malick Sidibé's photography; the second example stems from Carolyn Christov-Bakargiev's 2008 Biennale of Sydney, where works by Luigi Russolo, Doreen Reid Nakamarra, and Janet Cardiff and George Bures Miller were presented together, as a sequenza, at Pier 2/3.
- Critiqued, most infamously, in Benjamin H. D. Buchloh, ‘The Whole Earth Show’, Art in America 77, no. 5, May 1989, 150–9, 211–3.
- Zanny Begg, ‘Confusion, A Trip to the Dentist and the Biennale of Sydney: In Conversation with Carolyn Christov-Bakargiev and Michael Rakowitz’, Broadsheet 37, no. 2, June 2008, 94.
- Ibid., 93. Similar aims about the project were argued in Stephanie Smith, ‘A Visionary Dream, Unrealized: The Drawings of Michael Rakowitz’, Afterall 21, Summer 2009, 73–80.
- The possible correlation between this European-derived means of making the struggles in Redfern apparent and the gentrification of Redfern through similar modes of aestheticisation is one that I leave open here.
- Dan Perjovschi, interview with the author, Bucharest, 30 November 2006.
- For examples of this phenomenon in the Soviet Union, see Alla Rosenfeld and Norton T. Dodge, eds., Nonconformist Art: The Soviet Experience 1956–1986 (New York: Thames and Hudson, 1995).
- Dan Perjovschi, interview with the author, 30 November 2006; Lia Perjovschi and Dan Perjovschi, interview with the author, Sydney, 20 June 2008. An archive of this latter debate can be found in one of the Perjovschis's self-published newspapers: see Dan Perjovschi and Lia Perjovschi, Detective Draft (Bucharest: Center for Art Analysis, 2005). An excellent analysis of other discussions and debates within the CAA can be found in Kristine Stiles, ed., States of Mind: Dan and Lia Perjovschi (Durham: Duke University Press, 2007).
- See, for example, Anthony Gardner, ‘Installation as Critique, Installation as Philosophy’, Column 4, 2009, 18–28; and Charles Green and Anthony Gardner, ‘The Second Self: A Hostage of Cultural Memory’, A Prior 16, Spring 2008, 228–47.
- Anthony Gardner, ‘The Skin of Now: Contemporary Art, Contiguous Histories’, in Brook Andrew: Theme Park (Utrecht: AAMU, 2008), 75–89.
- Tom Nicholson, interview with the author, Melbourne, 14 August 2008.
- Ibid.
- Ibid.
- Terry Smith, ‘World Picturing in Contemporary Art: The Iconogeographic Turn’, Australian and New Zealand Journal of Art 7, no. 1, 2006, 27.
- On the history of Coranderrk station, see the important—and conflicting—accounts presented in Diane Barwick, Rebellion at Coranderrk (Canberra: Aboriginal History, 1998), and Jane Lydon, Eye Contact: Photographing Indigenous Australians (Durham: Duke University Press, 2005), 33–72 especially.
- Tom Nicholson, interview with the author, 14 August 2008.
- When Charles Walter photographed his own reconstruction of the event at Coranderrk in 1865, he dated the original action to 1862, whereas Jane Lydon claims the walk occurred in 1860. Jane Lydon, Eye Contact, 60ff.
- Jean-Luc Nancy, The Creation of the World or Globalization, trans. François Raffoul and David Pettigrew (Albany: State University of New York Press, 2007); Gayatri Chakravorty Spivak, Death of a Discipline (New York: Columbia University Press, 2003).
- The possible conceptual, as well as historical, correlations between postcolonialism and post-communism are only slowly beginning to emerge as crucial to social, cultural, and political historiographies of the recent past. This was clear, for example, in the full day of lectures devoted to precisely this topic at the first Former West conference, hosted by Maria Hlavajova from Basis voor Aktuele Kunst and Charles Esche from the Van Abbemuseum, Eindhoven, The Netherlands, on 5 November 2009.
- Jacques Derrida, Specters of Marx: The State of the Debt, the Work of Mourning, and the New International, trans. Peggy Kamuf (New York and London: Routledge, 1994).
- Dipesh Chakrabarty, ‘Universalism and Belonging in the Logic of Capital’, Public Culture 12, no. 3, 2000, 668–72, 676.
Australian and New Zealand Journal of Art
Volume 10, 2009 - Issue 1: The Conference Issue