Abstract
Considering the importance of globalization for the history of the biennials, the often addressed oppositions of center vs. periphery, global vs. local, which are so central to the second phase of this type of exhibition, it seems appropriate to adopt a new terminology that does not make a geographic and geopolitical distinction between Western and non-Western contemporary art.
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References
Kunstgeschchte und Weltgegenwartskunst (34), pp. 11–30.
Ibid., p. 18.
Ibid., p. 19.
Kitty Zijlmans, “Die Welt im Blickfeld. Unterwegs zu einer global orientierten Kunstgeschichte”, in: Kunstgeschichte und Weltgegenstandskunst (34), p. 243 ff.
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Ibid.
Ibid.
Ibid., p. 326.
Hans Belting (8) p. 51.
William Rubin (1927–2006) was chief curator (from 1967) and later director of MOMA New York.
Cf. extensive reviews and critique by Ludy R. Lippard, Kunstforum, vol. 118 (105) p. 162; Thomas McEvilley, Kunstforum, vol. 118 (118) p. 176 ff.
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Cf. McEvilley, Kunstforum (105) p. 175.
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Vogel, S.B. (2010). Global Art and Contemporary Art. In: Biennials — Art on a Global Scale. Edition Angewandte. Springer, Vienna. https://doi.org/10.1007/978-3-7091-0251-0_9
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DOI: https://doi.org/10.1007/978-3-7091-0251-0_9
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