An innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1850-2010: Modernity to Globalisation" includes essays which engage directly with topical issues around art and gender, globalisation, cultural difference and curating, as well as explorations of key canonical artists and movements and of some less well-documented work of contemporary artists. The third of three text books, published by Tate in association with the Open University, which insight for students of Art History, Art Theory and Humanities. Introduction: stories of modern art Part 1: Art and modernity 1:Avant-garde and modern world: some aspects of art in Paris and beyond c.1850-1914 2: Victorian Britain: from images of modernity to the modernity of images 3: Cubism and Abstract Art revisited 4: Modernism in architecture and design: function and aesthetic Part 2: From modernism to globalisation 5: Modernism and figuration 6: From Abstract Expressionism to Conceptual Art: a survey of New York art c.1940-1970 7: Border crossings: installations, locations and travelling artists 8: Global dissensus: art and contemporary capitalism

Through carefully chosen themes and topics rather than through a general survey, this title approaches the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. It includes essays which engage directly with topical issues around art and gender, globalisation, cultural difference and curating.

An innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1600-1850 Academy to Avant-Garde" interrogates labels used in standard histories of the art of this period (Baroque, Rococo, Neo-Classicism and Romanticism) and examines both established and recent art-historical methodologies, including formalism, iconology, spectatorship and reception, identity and difference. Key topics include Baroque Rome, Dutch Painting of the Golden Age, Georgian London, the Paris Salon, and the impact of the discovery of the South Pacific.The second of three text books, published by Tate in association with the Open University, which insight for students of Art History, Art Theory and Humanities. Introduction Part 1: City and country 1600-1760 1: Bernini and Baroque Rome 2: Meaning and interpretation: Dutch painting of the golden age 3: The metropolitan urban renaissance: London 1660-1760 4: The English landscape garden 1680-1760 Part 2: New worlds of art 1760-1850 5: Painting for the public 6: Canova, Neo-classicism and the sculpted body 7: The other side of the world 8: Inventing the Romantic artist

In a series of newly commissioned essays by both established and emerging scholars, Globalization and Contemporary Art probes the effects of internationalist culture and politics on art across a variety of media. Globalization and Contemporary Art is the first anthology to consider the role and impact of art and artist in an increasingly borderless world. First major anthology of essays concerned with the impact of globalization on contemporary art Extensive bibliography and a full index designed to enable the reader to broaden knowledge of art and its relationship to globalization Unique analysis of the contemporary art market and its operation in a globalized economy

How global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism. If European modernism was premised on the new—on surpassing the past, often by assigning it to the “traditional” societies of the Global South—global contemporary art reanimates the past as a resource for the present. In this account of what globalization means for contemporary art, David Joselit argues that the creative use of tradition by artists from around the world serves as a means of combatting modern art's legacy of Eurocentrism. Modernism claimed to live in the future and relegated the rest of the world to the past. Global contemporary art shatters this myth by reactivating various forms of heritage—from literati ink painting in China to Aboriginal painting in Australia—in order to propose new and different futures. Joselit analyzes not only how heritage becomes contemporary through the practice of individual artists but also how a cultural infrastructure of museums, biennials, and art fairs worldwide has emerged as a means of generating economic value, attracting capital and tourist dollars. Joselit traces three distinct forms of modernism that developed outside the West, in opposition to Euro-American modernism: postcolonial, socialist realism, and the underground. He argues that these modern genealogies are synchronized with one another and with Western modernism to produce global contemporary art. Joselit discusses curation and what he terms “the curatorial episteme,” which, through its acts of framing or curating, can become a means of recalibrating hierarchies of knowledge—and can contribute to the dual projects of decolonization and deimperialization.

An innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1000-1600: Medieval to Renaissance" includes essays on key themes of Medieval and Renaissance art, including the theory and function of religious art and a generic analysis of art at court. Explorations cover key canonical artists such as Simone Martini and Botticelli and key monuments including St Denis and Westminster Abbey, as well as less familiar examples.The first of three text books, published by Tate in association with the Open University, which insight for students of Art History, Art Theory and Humanities. Introduction Part 1: Visual cultures of medieval Christendom 1: Sacred art as the Bible of the Poor' 2: Sacred architecture, Gothic architecture 3: Sacred in secular, secular in sacred: the art of Simone Martini 4: To the Holy Land and back again: the art of the Crusades Part 2: The shifting contexts of Renaissance art 5: Art at court 6: Botticelli 7: Did women patrons have a Renaissance? Italy 1420-1520 8: From Candia to Toledo: El Greco and his art

National studies have demonstrated their inability to correctly understand global phenomena, and the way in which they affect societies. This chronologically ambitious book investigates methodological and theoretical issues from Roman times to the present, in terms of globalization. In this context, one of the most relevant parameters of change emerges: the itinerancy of culture and knowledge. Therefore, this volume argues that itinerant agents carry with them cultural baggage, transporting and transmitting it to other spaces. In this way, interconnection begins, producing active changes in global history and visual culture. Contributions to this book focus on comparative studies, the evolution of global phenomena, historical processes in their diachrony, regional studies, changing economies, cultural continuities, and methodological questions on globalization, among others. In addition, the book opens with a contribution from Professor Peter Burke.