From Global to Alter-Globalist Art History

Piotrowski, Piotr; Skotnicka, Marta

doi:0867-0633

Pobierz

Tytuł: From Global to Alter-Globalist Art History

Bibliografia:

1. A. Alberro, Periodising Contemporary Art in Crossing Cultures. Conflict, Migration, and Convergence, ed. J. Anderson (Melbourne: The Miegunyah Press, 2009), 935-939.
2. R. Araeen, Art and Post-colonial Society in Globalization and Contemporary Art, ed. J. Harris (Chichester: Wiley-Blackwell, 2011), 365-374.
3. R. Araeen, A New Beginning. Beyond Post-colonial Cultural Theory and Identity Politics in The ‘Third Text’ Reader on Art, Culture and Theory, ed. R. Araeen et al. (London: Continuum, 2002), 333-345.
4. R. Araeen, “Our Bauhaus Other’ Mudhouse”, Third Text 6 (Spring, 1988): 3-14.
5. L’art conceptuel. Une perspective, ed. C. Gintz (Paris: Musée d’Art Moderne de la Ville de Paris, 1989).
6. Art and Globalization, ed. J. Elkins et al. (Pennsylvania: The Pennsylvania State University Press, 2010).
7. Art of the Fantastic. Latin America, 1920-1987 (Indianapolis Museum of Art, 1987).
8. J. Barriendos, Geopolitics of Global Art: The Reinvitation of Latin America as a Geoaesthetic Region in The Global Art World, Audiences, Markets, and Museums, ed. H. Belting, A. Buddensieg (Ostfildern: Hatje Cantz Verlag, 2009), 98-114.
9. L. Beke, Conceptual Tendencies in Eastern European Art in Global Conceptualism: Points of Origins, 1950-1980s, ed. L. Camnitzer, J. Farver, R. Weiss (New York: Queens Museum of Art, 1999),pp. 42-51.
10. G. Beker, The Globalization of the False: A Response to Okwui Enwezor in The Biennale Reader, ed. E. Filipovic et al. (Ostfildern: Hatje Canz Verlag, 2010), 446-453.
11. H. Belting, Das Ende der Kunstgeschichte. Eine Revision nach Jahren (München: Verlag C.H. Beck, 1994).
12. Beyond the Fantastic. Contemporary Art Criticism from Latin America, ed. G. Mosquera (Cambridge MA: The MIT Press, 1996).
13. S. Buck-Morss, The Post-Soviet Condition in East Art Map. Contemporary Art and Eastern Europe, ed. IRWIN (London: Afterall Book, 2006), 494-499.
14. A. Buddensieg, Visibility in the Art World: the Voice of Rasheed Araeen in Contemporary Art and the Museum. A Global Perspective, ed. P. Weibel, A. Buddensieg (Ostfildern: Hatje Cantz Verlag,2007).
15. Ch.Bydler, The Global ArtWorld Inc. On the Globalization of Contemporary Art (Uppsala: Uppsala University, 2004).
16. L. Camnitzer, Conceptualism in Latin America: Dialectics of Liberation (Austin: University of Texas Press, 2007).
17. D. Chakrabarty, Prowincjonalizacja Europy. Myśl postkolonialna i różnica historyczna, trans. D. Kołodziejczyk, T. Dobrogoszcz, E. Domańska (Poznań: Wydawnistwo Poznańskie, 2011).
18. J. Clark, Modern Asian Art (Honolulu: The University of Hawaii Press, 1998).
19. J. Clark, Modernities in Art: How are they ‘Order’? in World Art Studies: Exploring Concepts and Approaches, ed. K. Zijlmans, W. van Damme (Amsterdam: Valiz, 2008), 401-418.
20. Conceptual Art and Central Europe (Zdenka Badovinac, Eda Čufer, Cristina Freire, Boris Groys, Charles Harrison, Vít Havránek, Piotr Piotrowski, Branka Stipančić), Part I and Part II “e-flux”, Journal 40 (12/ 2012) and Journal 41, (1/2012): http://www.e-flux.com/journal/conceptual-art-and-eastern-europe-part-i/, http://www.e-flux.com/journal/conceptual-art-and-eastern-europe-part-ii/.
21. Contemporary Art and the Museum.A Global Perspective, ed. P. Weibel, A. Buddensieg (Ostfildern: Hatje Cantz Verlag,2007).
22. Countercultures: Alternative Art in Eastern Europe and Latin America, 1953-1991. Accessed on July 20, 2015, http://www.courtauld.ac.uk/degreeprogrammes/postgraduate/ma/specialistareas/countercultures.shtml.
23. T. DaCosta Kaufmann, Toward a Geography of Art (Chicago: The University of Chicago Press, 2004).
24. C. Duncan, Civilising Rituals. Inside Public Art Museums (London: Routledge, 1995).
25. J. Elkins, Why Art History is Global in Globalization and Contemporary Art, ed. J. Harris (Chichester, Wiley-Blackwell, 2011), 375-386.
26. J. Elkins, Writing about Modernist Painting Outside Western Europe and North America in Compression vs. Expression. Containing and Explaining the World’s Art, ed. J. Onians (Williamstown MA, Sterling and Francine Clark Art Institute, 2006), 188-214.
27. O. Enwezor, Mega-Exhibitions and the Antinomies of a Transnational Global Form in The Biennale Reader, ed. E. Filipovic et al. (Ostfildern: Hatje Canz Verlag, 2010), 426-445.
28. Ch. Esche, Making Art Global: A Good Place or a No Place? in Making Art Global (Part 1). The Third Havana Biennial, 1989, ed. R. Weiss (London: Afterall, 2011), 8-13.
29. T. Fillitz, Contemporary Art of Africa. Coevalness in the Global World in The Global Art World, Audiences, Markets, and Museums, ed. H. Belting, A. Buddensieg (Ostfildern: Hatje Cantz Verlag, 2009), 116-134.
30. C. Freire, Arte Conceitual (Sao Paolo: Jorge Zahar, 2006).
31. Fromer West: BAK – basis vooor actuele kunst, Utrecht http://www.formerwest.org/.
32. A. Giunta, Avant-Garde, Internationalism, and Politics (Durham: Duke University Press, 2007).
33. The Global Art World. Audiences, Markets, and Museums, ed. H. Belting, A. Buddensieg (Ostfildern: Hatje Cantz Verlag, 2009).
34. Global Art, ed. Silvia von Bennigsen et al. (Ostfildern: Hatje Canz Verlag, 2009).
35. Global Conceptualism: Points of Origin, 1950-1980, ed. L. Camnitzer, J. Farver, R. Weiss (New York: Queens Museum of Art, 1999).
36. Global Studies. Mapping Contemporary Art and Culture, ed. H. Belting et al. (Ostfildern: Hatje Cantz Verlag, 20011).
37. Globalization and Contemporary Art, ed. J. Harris (Chichester: Wiley-Blackwell, 2011).
38. B. Groys, Art Power (Cambridge MA: The MIT Press, 2008).
39. B. Groys, Back from the Future in 2000+ Art East Collection. The Art of Eastern Europe, ed. Z. Badovinac, P. Weibel (Wien-Bozen: Folio Verlag, 2001), 9-14.
40. B. Groys, “From Medium to Message. The Art Exhibition as Model of a New World Order”, Open. Cahier on Art and the Public Domain (The Art Biennial as a Global Phenomenon) 16 (2009), 56-65.
41. B. Groys, History Becomes Form. Moscow Conceptualism (Cambridge MA: The MIT Press, 2010).
42. S. Guilbaut, Jak Nowy Jork ukradł ideę sztuki nowoczesnej. Ekspresjonizm abstrakcyjny, wolność i zimna wojna, trans. E. Mikina (Warszawa: Hotel Sztuki, 1992).
43. M. Hardt, A. Negri, Empire (Cambridge: Harvard University Press, 2001).
44. M. Hardt, A. Negri, Rzeczpospolita, trans. Praktyka Teoretyczna (Kraków: Ha!art, 2012).
45. B. H.-D. Buchloh, “Conceptual Art, 1962-1969: From the Aesthetics of Administration to the Critique of Institutions”, October 55 (Winter, 1990): 105-143.
46. R. Hoskote, Biennials of Resistance: Reflections on the Seventh Gwangju Biennial in The Biennale Reader, ed. E. Filipovic et al. (Ostfildern: Hatje Canz Verlag, 2010), 306-321.
47. Is Art History Global?, ed. J. Elkins (New York-London: Routledge, 2007).
48. M. Juneja, Global Art History and the “Burden of Representation” in Global Studies. Mapping Contemporary Art and Culture, ed. H. Belting et al. (Ostfildern: Hatje Canz Verlag, 2011), 274-297.
49. K. Kemp-Welch, C. Freire, “Artists’ Networks in Latin America and eastern Europe (Special Section/Introduction)”, Art Margins 2-3 (Vol. 1, 2012): 3-13.
50. Die Kunsthistoriographien in Ostmitteleuropa and der nationale Diskurs, ed. R. Born, A. Janatková, A. S. Labuda (Berlin: Gebrüder Man Verlag [Humboldt-Schriften zur Kunst- und Bildgeschichte], 2004).
51. R. Krauss, “The Cultural Logic of the Late Capitalist Museum”, October 54 (Fall, 1990): 3-17.
52. P. D. Leighten, Re-Ordering the Universe: Picasso and Anarchism, 1897-1914 (Princeton NJ: Princeton University Press, 1989).
53. N. Luhmann, Die Kunst der Gesellschaft (Frankurt am Main: Suhrkamp, 1995).
54. N. Luhmann, Soziale Systeme: Grundriss einer allgemeinen Theorie (Frankfurt am Main: Suhrkamp, 1984).
55. G. Piotrowski, Alterglobalism in Postsocialism. A Study of Central and Eastern European Activists (Florence: European University Institute, Department of Political and Social Sciences, 2011).
56. P. Mitter, “Intervention. Decentering Modernism: Art History and Avant-Garde Art from the Periphery”, The Art Bulletin 4 (vol. XC, 2008): 543-544.
57. P. Mitter, Reflections on Modern Art and National Identity in Colonial India: an Interview in Cosmopolitan Modernisms, ed. K. Mercer (Cambridge MA: The MIT Press, 2005), 24-49.
58. P. Mitter, The Triumph of Modernism. India’s Artists and the Avant-Garde, 1922-1947 (London: Reaktion Books, 2007).
59. Modern art in Africa, Asia, and Latin America. An Introduction to Global Modernisms, ed. E. O’Brien et al. (Chichester: Wiley-Blackwell, 2013).
60. G. Mosquera, The Marco Polo Syndrome. Some Problems around Art and Eurocentrism (1992) in The Biennale Reader, ed. E. Filipovic et al. (Ostfildern: Hatje Canz Verlag, 2010), 416-425.
61. J. Onians, A Brief Natural History of Art in Compression vs. Expression. Containing and Explaining the World’s Art, ed. J. Onians (Williamstown MA: Sterling and Francine Clark Art Institute, 2006), pp. 235-249.
62. J. Onians, Neuroarthistory. From Aristotle and Pliny to Baxandal and Zeki (New Haven CT: Yale University Press, 2008).
63. J. Onians, Neuroarthistory: Making More Sense of Art in World Art Studies: Exploring Concepts and Approaches, ed. K. Zijlmans, W. van Damme (Amsterdam: Valiz, 2008), 265-286;
64. P. Piotrowski, Agorafilia. Sztuka i demokracja w postkomunistycznej Europie (Poznań: Rebis, 2010), English edition: Art and Democracy in Post-Communist Europe (London: Reaktion, 2012).
65. P. Piotrowski, Awangarda w cieniu Jałty. Sztuka w Europie Środkowo-Wschodniej w latach 1945-1989 (Poznań: Rebis, 2005).
66. P. Piotrowski, Globalising Central-East European Art (typescript).
67. P. Piotrowski, „O horyzontalnej historii sztuki”, Artium Quaestiones XX (2009), 59-73.
68. P. Piotrowski, “On the Spatial Turn, Or Horizontal Art History”, Umeni/Art 5 (2008): 378-383.
69. B. Pejić, The Dialectics of Normality in After the Wall. Art and Culture in Post-Communist Europe, ed. B. Pejić, D. Elliott (Stockholm: Moderna Museet, 1999).
70. M. C. Ramírez, Blue Print Circuits: Conceptual Art and Politics in Latin America in Latin American Artists of the Twentieth Century, ed. A. Rasmussen (New York: MoMA, 1993).
71. M. C. Ramírez, Brokering Identities: Art Curators and the Politics of Cultural Representation in Thinking about Exhibitions, ed. R. Greenberg, B. W. Ferguson, S. Nairine (London: Routledge, 1996), 21-38.
72. M. C. Ramírez, Tactics for Thriving on Adversity: Conceptualism in Latin America, 1960-1980 in Global Conceptualism: Points of Origins, 1950-1980, ed. L. Camnitzer, J. Farver, R. Weiss (New York: Queens Museum of Art, 1999). 53-71.
73. D. Skórczewski, „Wobec eurocentryzmu, dekolonizacji i postmodernizmu. O niektórych problemach teorii postkolonialnej i jej polskich perspektywach”, Teksty Drugie 1-2 (2008): 33-55.
74. P. Sloterdijk, In the World Interior of Capital: Towards a Philosophical Theory of Globalization, trans. W. Hoban (Cambridge: Polity Press 2013).
75. J. Sowa, Fantomowe ciało króla (Kraków: Universitas, 2011).
76. J. Stallabrass, Art Incorporated. The Story of Contemporary Art (Oxford: Oxford University Press, 2004).
77. D. Summers,Real Spaces. World Art History and the Rise of Western Modernism (New York: Phaidom, 2003).
78. D. Summers, World Art History and the Rise of Western Modernism, or Goodbye to the Visual Arts in Compression vs. Expression. Containing and Explaining the World’s Art, ed. J. Onians (Williamstown MA, Sterling and Francine Clark Art Institute, 2006), 215-234.
79. E. Thompson, Trubadurzy Imperium. Literatura rosyjska i kolonializm (Kraków: Universitas, 2000).
80. M. Tiampo, Cultural Mercantilism. Modernism’s Means of Production: the Gutai Group as Case Study in Globalization and Contemporary Art, ed. J. Harris (Chichester: Wiley-Blackwell, 2011), 212-224.
81. Die Totale Aufklärung. Moskauer Konzeptkunst, 1960-1990/ Total Enlightenment. Conceptual Art in Moscow, 1960-1990, ed. B. Groys et. al, (Frankfurt-Ostfildern: Kunsthalle/Hatje Canz Verlag, 2008).
82. V. Tupitsyn, The Museological Unconscious (Cambridge MA: The MIT Press, 2009).
83. I. Wallerstein, World-Systems Analysis: An Introduction (Duke University Press, 2005).
84. K. Wodiczko, „Miejsce Pamięci Ofiar 11 Września (Propozycja przekształcenia Nowego Jorku w „miejsce ucieczki”)”, Artium Quaestiones XIX (2008).
85. K. Zijlmans, The Discourse on Contemporary Art and the Globalization in World Art Studies: Exploring Concepts and Approaches, ed. K. Zijlmans, W. van Damme (Amsterdam: Valiz, 2008), 135-150.
86. K. Zijlmans, An Intercultural Perspective in Art History: Beyond Othering and Appropriation in Is Art History Global, ed. J. Elkins (New York: Routledge, 2007).
87. A. Żmijewski, Forget Fear, ed. A. Żmijewski, J. Warsza (Berlin: 7th Berlin Biennale for Contemporary Art, 2012).