An Anthropology of Contemporary Art
Practices, Markets, and Collectors
Herausgeber: Fillitz, Thomas; Grijp, Paul van der
An Anthropology of Contemporary Art
Practices, Markets, and Collectors
Herausgeber: Fillitz, Thomas; Grijp, Paul van der
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- Produkterinnerung
- Produkterinnerung
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.
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.
Produktdetails
- Produktdetails
- Verlag: Bloomsbury Academic
- Seitenzahl: 266
- Erscheinungstermin: 25. Januar 2018
- Englisch
- Abmessung: 234mm x 156mm x 16mm
- Gewicht: 553g
- ISBN-13: 9781350016323
- ISBN-10: 1350016322
- Artikelnr.: 48430633
- Verlag: Bloomsbury Academic
- Seitenzahl: 266
- Erscheinungstermin: 25. Januar 2018
- Englisch
- Abmessung: 234mm x 156mm x 16mm
- Gewicht: 553g
- ISBN-13: 9781350016323
- ISBN-10: 1350016322
- Artikelnr.: 48430633
Thomas Fillitz is Professor of Social and Cultural Anthropology, University of Vienna, Austria.Paul van der Grijp is Professor of Social Anthropology, Université Lumière Lyon-2, France.
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
Collège 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 Belkaïd-Neri
Parsons Paris
France) 2.2. How Global Art Came to Istanbul: The Context of the Istanbul Bienal (Danila Mayer
St. Pölten 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 São Carlos
Brazil)3.3.Awkward Art and Difficult Heritage: Nazi Collectors and Postcolonial Archives (Jonas Tinius
Humboldt-Universität 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
Collège 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 Belkaïd-Neri
Parsons Paris
France) 2.2. How Global Art Came to Istanbul: The Context of the Istanbul Bienal (Danila Mayer
St. Pölten 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 São Carlos
Brazil)3.3.Awkward Art and Difficult Heritage: Nazi Collectors and Postcolonial Archives (Jonas Tinius
Humboldt-Universität 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
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
Collège 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 Belkaïd-Neri
Parsons Paris
France) 2.2. How Global Art Came to Istanbul: The Context of the Istanbul Bienal (Danila Mayer
St. Pölten 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 São Carlos
Brazil)3.3.Awkward Art and Difficult Heritage: Nazi Collectors and Postcolonial Archives (Jonas Tinius
Humboldt-Universität 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
Collège 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 Belkaïd-Neri
Parsons Paris
France) 2.2. How Global Art Came to Istanbul: The Context of the Istanbul Bienal (Danila Mayer
St. Pölten 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 São Carlos
Brazil)3.3.Awkward Art and Difficult Heritage: Nazi Collectors and Postcolonial Archives (Jonas Tinius
Humboldt-Universität 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