An Anthropology of Contemporary Art uses ethnographic methods to explore shifts in the art market and global contemporary art during the last twenty years. Recognizing that the huge diversity of global phenomena requires research on the ground, it examines the local art markets, biennials, networks of collectors, curators, artists, patrons, auction houses, and museums that constitute the global art world. With contributions from Philippe Descola, George Marcus, Roger Sansi Roca, and Arnd Schneider, this book shows how ethnographic methods can be used to study contemporary art - making it the ideal resource for teaching anthropology of art.…mehr
An Anthropology of Contemporary Art uses ethnographic methods to explore shifts in the art market and global contemporary art during the last twenty years. Recognizing that the huge diversity of global phenomena requires research on the ground, it examines the local art markets, biennials, networks of collectors, curators, artists, patrons, auction houses, and museums that constitute the global art world. With contributions from Philippe Descola, George Marcus, Roger Sansi Roca, and Arnd Schneider, this book shows how ethnographic methods can be used to study contemporary art - making it the ideal resource for teaching anthropology of art.
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.
Inhaltsangabe
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
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
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