Global Contemporary Art World

JONATHAN HARRIS is Head of Birmingham School of Art at Birmingham City University, UK. He has taught and lectured on modern and contemporary art at universities, museums and galleries worldwide for over thirty years. His The New Art History: A Critical Introduction (2001) remains a classic text, and he has published twenty books as editor, author and co-author, including Globalization and Contemporary Art and The Utopian Globalists (Wiley-Blackwell, 2011 and 2013).

• About the Author viiIntroduction: “Global,” “Contemporary,” “Art,” “World” 1Entering the Maze 1Modernity, Contemporary Art and Globalization 7Five Asian Centers within the Global Contemporary Art World 15Global Crash, Crises and the Art World 20Contemporary Art in the Friezer 251 Doing the Business: Producing Consumption in the Hong Kong Art World 35Hong Kong Gets the Art Basel Treatment 35Offshore Art Business in the Global Neoliberal Capitalist Economy 39Combined and Uneven Development in the Hong Kong Art World 45Hong Kong’s Art World Inside and Outside China 522 New Media Art and Cultural Globalism in South Korea 65The Chic of Global “New Media Art” 65Contemporary Art as Global Cultural Diplomacy 69“Glocal Video”: Conventions and Critiques 73Culture, Contemporaneity and the Postcolonial Artwork 76The “Real DMZ Project”: Conflict Art in the Korean Peninsula 80Contemporary Art Across Global Asia 853 Globalizing Indian Contemporary Art: The Biennial as Rhetorical Form 95The Kochi Biennale Big Sell 96Kochi as a Global Venue 99Art at Kochi: Liberal Pluralism Versus Social Engagement with Globalization? 102The Highs and Lows of Art, Media and Kochi Biennale Capital 108Utopian Rhetoric in Contemporary Art at the Kochi Biennale 1134 Social Reproduction of Contemporary Art in the People’s Republic of China: Higher Education and the Branding of “Contemporary Chinese Art” 127Art and Design Education as a Globalization Process 127Changing Identifications in Art and Design Education in China 132Contemporary Chinese Art Marketed for Global Consumption 136Chinese Art and the World Art System 1415 Contemporary Art and Post‐National Identities in the State of Palestine 155“Palestine is Open for Business”! 155Grounding the Culture Industry in Palestine 158Palestinian Museums‐of‐art‐in‐waiting 162The “NGO‐ization” of the Contemporary Art World in the State of Palestine 167Concrete into Dust 1726 Conclusion: Motifs of Global Fracture in the Art Of Bashir Makhoul and Wang Guofeng 181Re‐Entering the Maze 181In Girum Imus Nocte et Consumimur Igni 185Utopian Photo‐Mythologies 188Aesthetic and Social Implications of Digital Photography 191The One and the Multitude in the World Order/Disorder 194Selected Bibliography 201Index 217