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Journal articles on the topic 'Art and globalization'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Bolognini, Maurizio. "Globalization, art and the art system." Ekistics and The New Habitat 73, no. 436-441 (December 1, 2006): 191–95. http://dx.doi.org/10.53910/26531313-e200673436-441115.

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The author's research interests are: art, technology and democracy. On this latter subject he has published several essays and a book entitled Democrazia elettronica (Carocci, Rome, 2001). As an artist he has worked with digital technologies since the 1980s. One of his best-known works is Computer sigillati (Sealed Computers, 1992): more than 200 machines which are programmed to produce flows of random images and then left to work indefinitely, usually without monitors. His works have been exhibited widely in Europe and the USA. He has put on shows, presentations and performances in Paris, New York , Los Angeles, San Francisco, Sydney. His latest one-man shows include: Museo Laboratorio di Arte Contemporanea (Rome, 2003), WilliamsburgArt& Historical Center (New York, 2003), Museo di Arte ContemporaneaVilla Croce (Genoa, 2005). Latest books on his work: D. Scudero (ed.),Maurizio Bolognini: Installazioni, disegni, azioni (on/off line), (Lithos,2003); and S. Solimano (ed.), Maurizio Bolognini: Infinity out of Control(Neos, 2005). The text that follows was made available to the participants of the international symposion on "Globalization and Local Identity, " organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005, which the author was finally unable to attend.

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2

Esquivel, Patricia. "Art Narratives and Globalization." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, no. 2 (2011): 135–44. http://dx.doi.org/10.28937/1000106178.

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Arthur Danto proklamierte das »Ende der Kunst«, d. h. das Ende der auf ein Narrativ und auf eine unidirektionale Grundlage basierenden Kunstgeschichte. In der zeitgenössischen Kunstwelt und besonders in der Historiographie hingegen findet man durchaus ein Telos. Dieses Telos ist die Globalisierung. Es gibt heute ein sich ausbreitendes unidirektionales Narrativ, dessen Regel als »Netzwerklegitimation« erklärt werden kann. Ein Netzwerk, dessen Ausmaß (mehr Regionen der Welt), Sättigung (mehr Objekte) und Historizität (umfassendere Entwicklungsketten) zunehmen. Das Netzwerk hat auch einen Mittelpunkt, den Westen, wenn auch nicht für immer.<br><br>Arthur Danto proclaimed the »end of art«, that is, the end of the history of art structured on a narrative and unidirectional basis. But in contrast to Danto’s ideas, we detect a telos in the contemporary art world, especially in historiography. This telos is globalisation. At present, we have a clearly expansive unidirectional narrative in which the norm can be summed up as »network legitimation.« A network that is growing in extent (more regions of the world), saturation (more objects) and historicity ( further-ranging chains of development). The network also has a centre, the West, although it may not last forever.

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3

Sansi, Roger. "Art, anthropology, and globalization." Journal of the Royal Anthropological Institute 22, no. 1 (January 25, 2016): 204–6. http://dx.doi.org/10.1111/1467-9655.12341.

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4

Hallam, Huw. "Confronting Globalization." ARTMargins 3, no. 1 (February 2014): 87–101. http://dx.doi.org/10.1162/artm_r_00071.

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This article reviews Pamela M. Lee's Forgetting the Art World (2012) and TJ Demos's Return to the Postcolony (2013). Reviewer examines the texts' shared concern with self-reflexive art practices that in different ways work to expose their own conditions of existence with respect to globalization. Both authors, according to the review, engage with art as a privileged medium that is capable of materializing knowledge about globalization and that thereby holds some potential to shape, mediate, or confront its trajectory. After appraising both the originality and limitations of Lee's and Demos's approaches, reviewer concludes with an outline of the core issues and challenges that globalization poses for art-historical methods.

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5

Khandekar, Nisha. "GLOBALIZATION AND WARLI TRIBAL ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 116–21. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3718.

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The globalization has negatively impacted upon the tribal economies, culture and identities. The expansion of the art world under this version of globalization means that freedom of expression among artists is compromised under the pressure to conform to the market in order to succeed financially. The present scenario may change the true reflection of old culture and tradition of the Warli tribe. Because of the commercialization the transformation occurred, and they are venturing into mainstream society for the sake of their art. It has now become the commercial activity of Warli men. Because of the Industrial Revolution and modernization tribal art is a dying activity, now survives only in isolated areas whose inhabitants have a proud tradition of art and making things for themselves. Significance of the art has changed, earlier it used to be a social and religious tradition and ritual for women and everyday life, now it is a source of livelihood and exploration of individual creativity and a symbol of cultural and artistic pride. Introduction of the new modern motif of airplane, car, school building, factory are not necessarily a conscious effort to make art more commercial but rather a reflection of the changing world of the artists and to make painting more consumer- related.

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Omarova, A. K., A. Zh Kaztuganova, and D. F. Karomat. "GLOBALIZATION AND ETHNOMUSICOLOGY." BULLETIN 384, no. 2 (April 15, 2020): 216–21. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.61.

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The interpretation of the category “genre” which is presented based on the classification of makom, due to its internal nature, causes disagreement among the scholars, and difficulties due to its designation of a specific type of work and/or national art form. In particular, the emphasis on circumstances related to the centuries-old, extended, regional, situational development in line with the oral tradition and in the frame of improvisational art, and the definition of the national type of musical art as a “genre” lead to disproportionate indicators in theoretical issues. In this regard, the reasons for the incorrect use of the category “genre” in the studies of the Kazakh kuy art were commented: in one case, it is correlated as a whole with the “kuy” phenomenon, in the other, it is used in relation to certain phenomena arising from the study of its internal distinctive nature. The “Triad of factors” – multivariance, cyclicity and locality – which formed the basis for conceptual generalizations of the famous musicologist T.B. Gafurbekov in the works revealing its system-forming nature in monodic culture is shown in conjunction with principles that reflect the genre specificity of instrumental music of the Kazakhs. The groups of macrovolume can include “Akzhelen”, “Kosbasar”, “Nauayi”, the microvolume barnch by Kurmangazy “Kisen ashkan”, “Kobіk shashkan”, “Turmeden kashkan” etc. The regional kuys with the same name by Kurmangazy, Dauletkerey, Dina “Zhiger” can be cited as an example. The situational kuys include “Kenes”, “16-zhyl” etc. As a final conclusion, the importance of considering the art of the Kazakh kuy in the system of monodic cultures and a new “clarification” of its inner nature is emphasized. From this point of view, the theoretical concept of T.B. Gafurbekov is updated as capable of forming a common scientific platform for studying the traditions of the Turkic-speaking peoples based on improvisation.

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7

ULUSOY, Demet. "ART IN THE CULTURAL GLOBALIZATION PROCESS." Ekonomik Yaklasim 9, no. 30 (1998): 77. http://dx.doi.org/10.5455/ey.10295.

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8

Velthuis, Olav. "GLOBALIZATION OF MARKETS FOR CONTEMPORARY ART." European Societies 15, no. 2 (May 2013): 290–308. http://dx.doi.org/10.1080/14616696.2013.767929.

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9

CARROLL, NOËL. "Art and Globalization: Then and Now." Journal of Aesthetics and Art Criticism 65, no. 1 (January 2007): 131–43. http://dx.doi.org/10.1111/j.1540-594x.2007.00244.x.

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10

Parmadi, Bambang, and Benardin. "Globalization Of Tourism Industry Toward Culture Of Local Wisdom In The Existance Of Pseudo Traditional Art Case Study of the Commodification of Bengkulu Traditional Arts." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 4, no. 2 (October 31, 2021): 102–9. http://dx.doi.org/10.31091/lekesan.v4i2.1803.

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The influence of globalization toward cultural context is a transaction of cultural things through industrial process affected by modernization. Tourism industry is one of the globalizations which produces cultural things to be commercialized financially and purposefully. One of cultural things to be commercialized in the era of globalization is traditional art. The issue coming up is how to develop patterns so that the supporters of traditional art as the subject of local wisdom are maintained, but hopefully it can, on the other hand, accommodate globalization demands, for both economic and sociocultural aspects which have commodified culture? With the aim of synergizing the existence of traditional art as cultural identity of supporters in sociocultural way and the demands of tourism industry that commodify culture, through field research using qualitative method, it can be concluded that. First, commodification of culture is inevitable in the era of 4.0 which develops in modernity, which can be seen from more developed tourism industry. Second, commodification of culture toward local wisdom can actually be solved with some strategies without marginalizing the supporters of the local wisdom and culture. Third, the space of traditional art as cultural identity can be maintained and revitalized from commodification of culture as long as the conceptual pattern can synergize the perception and responses of the supporters with the demands of tourism industry. Forth, one of the most relevant concept to accommodate the demands of commodification of culture is what is known as pseudo traditional art.

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11

Tagore-Erwin, Eimi. "Contemporary Japanese art: between globalization and localization." Arts and the Market 8, no. 2 (October 1, 2018): 137–51. http://dx.doi.org/10.1108/aam-04-2017-0008.

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Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016. Findings The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein. Research limitations/implications Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics. Practical implications The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field. Originality/value This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.

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12

Carter, Curtis. "Globalization and Cultural Identity of Art Works." Monitor ISH 19, no. 2 (December 4, 2017): 81–110. http://dx.doi.org/10.33700/1580-7118.19.2.81-110(2017).

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Works of art are properly characterized as cultural objects, as opposed to being merely physical or perceptual objects. As cultural objects, works of art can be embodied in physical objects, but they require properties that physical objects do not necessarily possess, such as being intentionally composed in some artistic medium in a particular historic context informed by ideas, values, and technical skills and means offered by the culture. Works of art retain their identity in important respects, but may also undergo change when transferred from one culture to another. The identity of a work may be enriched and expanded to incorporate features acquired as a result of its being interpreted in a new cultural setting. An expanded and clarified account of culture is required to give a fuller characterization of the cultural properties that comprise works of art and to support the view that cultural identity in some sense transcends a culture of origin. Culture is a multi-phased concept involving at least three related elements. First, there are the particular art cultures consisting of art-making and their attending strategies of interpretation found in the art worlds of various societies. Secondly, the culture of a people consists of the broader societal, political, economic, religious, ideological, and other practices that define a culture. An additional element is world or global culture consisting of the features of art that enable people from diverse cultures to interpret and appreciate art from other cultures. Within these frameworks, the identity of art works is open and cumulative, with the result that they continuously acquire new properties over the duration of their existence.

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13

Muhtarom, Herdin, Ilham Arsandi, Dora Kurniasih, Nida Widia, and Sulaeman Sulaeman. "PERUBAHAN BUDAYA JAKARTA: LUNTURNYA NILAI-NILAI KESENIAN ONDEL-ONDEL BETAWI DI ERA GLOBALISASI." ETNOREFLIKA: Jurnal Sosial dan Budaya 10, no. 2 (June 30, 2021): 172–82. http://dx.doi.org/10.33772/etnoreflika.v10i2.1136.

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The times, especially in globalization era, will have an impact, one of which is on cultural changes in Indonesia. Similarly, the change occurs in Jakarta's culture, particularly Jakarta Ondel-ondel art which has changed in the term of its values. This research is intended to find out related cultural changes occurring in Jakarta, especially in Ondel-ondel art, in which the values of the ondel-ondel art begins to fade gradually due to deviations in the use of ondel-ondel in globalization era as a means of earning living through busking. In this study, we used a qualitative research approach through the library research method. The results of study indicate that in globalization era era, Jakarta people do not understand the meaning contained in the art of Ondel-ondel Jakarta, therefore a strategy is needed to maintain and develop Jakarta's Ondel-ondel art in globalization era and to restore the values contained in the art.

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14

Potdar, Mahendra Jayprakash, and Mukta Avachat-Shirke. "The Impact of Globalization and Economic Growth of Dhokra ART - Chhattisgarh- India." ECS Transactions 107, no. 1 (April 24, 2022): 6261–72. http://dx.doi.org/10.1149/10701.6261ecst.

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Dhokra art is an example of Indian tribal art. This is a highly popular style all across the world. This style was initially known as "tribal," but it developed with time. In the beginning, it was limited to the Bastar region, but after some time, this region began to progress because of this art and globalization. Globalization had an impact on art and the society of Bastar. So this art is a major part of the Bastar economy. Its exports expanded not just within the country but also internationally, allowing these families to prosper financially. As a result, globalization has benefited both this art form and its economy. It plays a significant role in rural industries and the survival of rural people. Therefore, the art market is developing globally. Today, this art is an important source of employment in the Bastar region.

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Mikaere, Anahera, Tamati Nikora, Hemi Nīkau, and Roimata Paora. "The Impact of Globalization on Indigenous Art and Craft Industries: A Case Study of Maori Art in New Zealand." Studies in Art and Architecture 2, no. 4 (December 2023): 26–33. http://dx.doi.org/10.56397/saa.2023.12.04.

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This comprehensive review explores the intricate relationship between Maori art, globalization, and cultural preservation. Tracing the historical evolution of Maori artistic expressions against the backdrop of globalization, the study delves into the contemporary significance of Maori art in preserving cultural identity. Global currents and their impact on Maori art are analyzed, covering economic dynamics, challenges, and opportunities presented by international demand. Strategies employed to safeguard and transmit traditional Maori artistic heritage are scrutinized, alongside governmental initiatives and institutional collaborations. The synthesis section recognizes achievements and challenges in integrating Maori art into the global arena, identifying the impact of globalization on traditional Maori art paradigms. Looking ahead, the study envisions a sustainable future for Maori art, proposing strategies for sustaining its vitality in an interconnected world.

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Taylor, Nora A., and Pamela N. Corey. "Đổi Mới and the Globalization of Vietnamese Art." Journal of Vietnamese Studies 14, no. 1 (2019): 1–34. http://dx.doi.org/10.1525/vs.2019.14.1.1.

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Đổi Mới reforms triggered significant changes in the Vietnamese art world, including new institutional spaces, platforms for critical discourse, and growing artistic mobility. However, it is important to question the ways in which the use of Đổi Mới as a blanket indicator of artistic reform has further constructed a homogeneous representation of “Vietnamese contemporary art.” The authors consider the relationship of Đổi Mới to the “globalization” of Vietnamese art with attention to questions of art historiography (the coining of such terms as “post-Đổi Mới Vietnamese art”) and variations in regional developments (positing local art histories against the national narrative).

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Moscaluk, Marina V. "CHALLENGES OF GLOBALIZATION IN THE EURASIAN SPACE: ART AND NON-ART." Culture in the Eurasian Space, no. 2 (2018): 102–6. http://dx.doi.org/10.32340/2541-772x-2018-1-102-106.

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18

Brady, David, Jason Beckfield, and Martin Seeleib-Kaiser. "Economic Globalization and the Welfare State in Affluent Democracies, 1975–2001." American Sociological Review 70, no. 6 (December 2005): 921–48. http://dx.doi.org/10.1177/000312240507000603.

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Previous scholarship is sharply divided over how or if globalization influences welfare states. The effects of globalization may be positive causing expansion, negative triggering crisis and reduction, curvilinear contributing to convergence, or insignificant. We bring new evidence to bear on this debate with an analysis of three welfare state measures and a comprehensive array of economic globalization indicators for 17 affluent democracies from 1975 to 2001. The analysis suggests several conclusions. First, state-of-the-art welfare state models warrant revision in the globalization era. Second, most indicators of economic globalization do not have significant effects, but a few affect the welfare state and improve models of welfare state variation. Third, the few significant globalization effects are in differing directions and often inconsistent with extant theories. Fourth, the globalization effects are far smaller than the effects of domestic political and economic factors. Fifth, the effects of globalization are not systematically different between European and non-European countries, or liberal and non-liberal welfare regimes. Increased globalization and a modest convergence of the welfare state have occurred, but globalization does not clearly cause welfare state expansion, crisis, and reduction or convergence. Ultimately, this study suggests skepticism toward bold claims about globalization's effect on the welfare state.

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19

Smith, Terry, and Saloni Mathur. "Contemporary Art: World Currents in Transition Beyond Globalization." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 163–73. http://dx.doi.org/10.5195/contemp.2014.112.

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An edited transcript of a colloquium between Terry Smith, Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh, and Saloni Mathur, Associate Professor of the History of Art, University of California, Los Angeles, held at the Department of the History of Art and Architecture, University of Pittsburgh, on October 17, 2012.

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20

Sharma, Archana. "IMPACT OF GLOBALIZATION ON PAINTING." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3642.

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Art plays an important role in the development of any country. Art is considered a medium for realizing beauty or prosperity. Architecture, sculpture, painting and music have been considered under fine arts. Both painting or poetry is a means of expressing the inner feelings of man. Today in painting, it is possible that even if color does not make sense, it can reach the mind directly and make you feel happy. Art is said to be a response to the realization of truth. By combining Rupo in pictures, the eyes get satiety. Through the eyes, there is a cook in different minds in the mind of the audience. किसी भी देष के विकास में कला का महत्वपुर्ण योगदान होता है। कला को सोन्दर्य अथवा समृद्वि को साकार करने का माध्यम माना गया है। वास्तुकला, मूर्ति कला, चित्रकला तथा संगीत को ललित कला के अन्तर्गत माना गया है। चित्रकला हो या कविता दोनो ही मनुष्य की आंतरिक भावनाओं को व्यक्त करने का एक माध्यम है। चित्रकला में आज ऐसा संभव है कि रंग का अर्थ न निकले फिर भी वह सीधे मन तक पहुॅच कर रसानुभूति करा सकता है। कला को सत्य की अनुभूति की अनुक्रति कहा गया है। चित्रो में रूपो के संयोजन से नेत्रो को तृप्ति मिलती है। आंखो के माध्यम से दर्षक के मन में विभिन्न भावो से रसोदे्रक होता है।

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Fleming, Alison C. "Jesuit Visual Culture: Communication, Globalization, and Relationships." Journal of Jesuit Studies 6, no. 2 (June 21, 2019): 187–95. http://dx.doi.org/10.1163/22141332-00602001.

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The visual arts are a powerful tool of communication, a fact recognized and utilized by the Jesuits from the foundation of the order. The Society of Jesus has long used imagery, works of art and architecture, and other aspects of visual and material culture for varied purposes, and the five articles in this issue of the Journal of Jesuit Studies explore how the art they commissioned exemplifies the ideals, goals, desires, and accomplishments of the Society. In particular, these five scholars examine a wide array of images and ideas to consider myriad relationships between the Society and works of art in the early modern period, and the implications of their increasingly global footprint.

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Shatilov, Vadim Vadimovich. "The impact of globalization on the art market and national art cultures." Философия и культура, no. 8 (August 2023): 36–45. http://dx.doi.org/10.7256/2454-0757.2023.8.43782.

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The object of the study is the process of globalization, the subject of the study is its impact on the structure of the art market and national artistic cultures. Based on the idea of a dialogical cultural model, which was adhered to by V. Bybler and M. Bakhtin, the author justifies the use of the term "dialogue of cultures" to characterize the processes taking place in the space of the modern art market. Special attention in the study is paid to the analysis of its structural transformations: according to the author, inclusivity, which primarily consists in the decentralization of the internal structure of the art market, is a key characteristic that allows to periodize its development into classical and modern stages. A special contribution of the author of the study is an in-depth analysis of exhibition projects: "Magicians of the Earth" by J.-Y. Martin, as well as "Cities in Motion" by H.-W. Obrist and H. Hanru. It is established how these projects aroused the interest of Western collectors in the exotic and changed the share of representation in the art market of non-European art. The main conclusion is that the process of globalization of the art market acutely poses the problem of deformation of the perception of cultural heritage: the appeal of the Western world to traditional cultures in the forms of cultural and art tourism leads to fragmentation and differentiation of once integral national artistic cultures.

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AP, Moreno. "Brazilian Contemporary Art in the International Art Market." World Journal of Social Science Research 10, no. 4 (October 14, 2023): p74. http://dx.doi.org/10.22158/wjssr.v10n4p74.

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With changes in the art world, the Brazilian Contemporary art becomes an interesting subject to be analyzed in its relationship to the art market dynamics. The international art market has been growing since late 90s thanks to globalization. In this sense, the problematization of the research lies in an economical perspective of the art market to understand Brazilian Contemporary art internationalization through art fairs, biennials, art galleries and auction houses. With this analysis, the objective is to present an opinion about the panorama of Brazilian Contemporary art and its international market insertion.

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24

Gaskell, I. "Spilt Ink: Aesthetic Globalization and Contemporary Chinese Art." British Journal of Aesthetics 52, no. 1 (January 1, 2012): 1–16. http://dx.doi.org/10.1093/aesthj/ayr052.

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25

Harris, Jonathan. "Introduction: The ABC of Globalization and Contemporary Art." Third Text 27, no. 4 (July 2013): 439–41. http://dx.doi.org/10.1080/09528822.2013.816585.

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26

Xie, Wenqian. "On Chinese feminist art from the perspective of globalization." BCP Education & Psychology 6 (August 25, 2022): 152–63. http://dx.doi.org/10.54691/bcpep.v6i.1784.

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In comparison with the expression of feminist art during the second wave of the feminism movement in the United States, Chinese feminist art embodies similar development paths but with different pursuits. Immigrant countries determine that feminist art in the United States has different aims on account of artists of different races and nationalities, such as black women discussing racial discrimination and immigration; European immigrants criticize patriarchy from the perspective of Western art history; and LGBT people are oppressed by society. However, Chinese feminist art also has its own unique artistic expression objects and goals in the development and evolution of feminist theory. Aiming at the prevalent problem of preference for boys over girls and gender inequality, Chinese female artists criticize the hidden gender discrimination in society in a particular way.

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TSAGARELI, Tamar. "Problems of Th eatrical art in the XXI century." Arta 31, no. 2 (January 2023): 84–86. http://dx.doi.org/10.52603/arta.2022.31-2.12.

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From the last decades of the XX century to the present, the overall processes of integration have a total character in all spheres of human activity. In general, the cosmic quickness of development of technologies and especially information technologies have long removed the borders between different countries and civilizations. This triumphal move of globalization on our planet is a quite difficult process full of resistances. Its ongoing process is far ahead of comprehensive deliberation and assessing of possible positive and negative consequences raised by this occurrence. Despite the fact that historically globalization is a fully natural process, which certainly has not started only in the last decades of the XX century; some people consider the renaissance epoch as its beginning. There are people who think that this process originates from ancient times alongside with the development of mankind’s traditional cultures. However, subsequently in later history, it goes beyond the traditional boundaries of culture and often plays a destructive role towards it. During the discussions around globalization, there often appear catastrophic and apocalyptic visions. On the one side are those who consider globalization as historically inevitable and a progressive comprehensive occasion, while others emphasize the dangerous nature of this occasion for distinctiveness and development of different cultures and civilizations.

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Tavares, Paula, Maria João Félix, and Pedro Mota Teixeira. "Mapping Culture and Compromised Art in the Era of Globalization." International Journal of E-Politics 3, no. 1 (January 2012): 42–53. http://dx.doi.org/10.4018/jep.2012010104.

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This work presents an analysis of the cultural and artistic field, positively compromised with social and political questions. The authors start with the categorization of the idea of culture and move to vindication art movements. These movements, which followed the first vanguards and worked from the compromise with “otherness”, are at the origin of the contemporary denomination of political art. In this context, the authors approach the origins of activist art, referring to issues of gender, multiculturalism, globalization, and poverty. The different forms of presenting content are also an object of analysis: from art tradition to the contamination of daily life, from local to global, from street contact to digital.

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Zolfalipour, Leila. "Threads of Tradition and Global Expression: Persian Rugs Unraveled through Paintings and Globalization." Crossings: An Undergraduate Arts Journal 4, no. 1 (July 7, 2024): 39–43. http://dx.doi.org/10.29173/crossings253.

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Abstract: Unravelling Persian Rugs: Art, Tradition and Globalization This study investigates the dynamic relationship between Persian rugs, art, and globalization, following their transformation from functional objects to powerful symbols of identity. The study examines representations in paintings from various historical periods, highlighting the nuanced interplay between these textiles and global influences. Persian rugs have served as conduits for cross-cultural communication throughout history, from luxury in the Renaissance to modernistic interpretations in the twentieth. Through case studies, the paper delves into narratives that connect tradition and transformation, contributing to a better understanding of art, culture, and our shared human journey.

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Burke, Peter. "The Jesuits and the Globalization of the Renaissance." Cultural History 9, no. 2 (October 2020): 156–70. http://dx.doi.org/10.3366/cult.2020.0219.

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Following a brief discussion of comparative and entangled history, and of the extension of studies of the Renaissance to the world beyond Europe, this article focusses on the Jesuits as carriers of the ideas and forms of the European Renaissance to their mission stations in Asia and the Americas. In their attempts to adapt or ‘accommodate’ Christianity to the cultures of the peoples that they were attempting to convert, Jesuit missionaries made use of Renaissance humanism, rhetoric, grammar and the concern with manners and customs that was later known as ethnography. The missionaries also made use of art and architecture in the Renaissance style to reinforce the Christian message. Their use of local craftsmen had the unintended consequence of introducing new elements into this western style, producing a hybrid art. However, without wanting it or even knowing it, the Jesuits prepared the way for the later reception of western art in India, China and Japan.

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de la Fuente, Eduardo. "Book Review: Complex Entanglements: Art, Globalization and Cultural Difference." Thesis Eleven 81, no. 1 (May 2005): 137–41. http://dx.doi.org/10.1177/072551360508100115.

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Wilson, Bronwen, and Angela Vanhaelen. "Introduction: Making Worlds: Art, Materiality, and Early Modern Globalization." Journal of Early Modern History 23, no. 2-3 (May 28, 2019): 103–20. http://dx.doi.org/10.1163/15700658-12342631.

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Abstract Willem Janszoon Blaeu’s engraved wall map of America is used to introduce some of the potential for imaginative forms that resulted from the confrontation between early modern global forces and the mobility of materials and artisanal practices. Cartographic lines, pictorial forms, and texts comingle on the printed page, sometimes working together towards a totalizing document of lands and peoples, but also giving rise, through calligraphic inventions and ornamentation, to detours and unpredictable movements. These tensions, and concomitant social and political implications, are considered in relation to terms, notably globalization and mondialisation, and evolving historiographic questions and arguments. Through the concept of cosmopolitan spaces, we highlight the volume’s focus on connectivity. Together, the Introduction and the essays make a case for the global as an approach as much as an archive, an approach that is attentive to the migrations and heuristic value of visual and material evidence.

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Eichengreen, Barry. "The Art of Adaptation: Globalization and the European Model." Current History 105, no. 695 (December 1, 2006): 430–34. http://dx.doi.org/10.1525/curh.2006.105.695.430.

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However well the European economy may have performed in the past, there are reasons to worry about whether it can keep pace in a world of accelerating technical change and global competition led by the rise of India and China.

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Lawton, Brianne, and John Nauright. "Globalization of the traditional Okinawan art of Shotokan karate." Sport in Society 22, no. 11 (May 25, 2019): 1762–68. http://dx.doi.org/10.1080/17430437.2019.1617506.

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Barra, Monica Patrice. "Re-imagining the city: art, globalization, and urban spaces." Journal of Cultural Geography 31, no. 2 (May 4, 2014): 250–52. http://dx.doi.org/10.1080/08873631.2014.918366.

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Holmes, Ros. "Experimental Beijing: gender and globalization in Chinese contemporary art." Journal of Gender Studies 28, no. 5 (May 20, 2019): 620–21. http://dx.doi.org/10.1080/09589236.2019.1617965.

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이미재. "A Globalization of Korean Cultural Art in Digital Innovation." Journal of Contemporary European Studies 30, no. 3 (December 2012): 217–38. http://dx.doi.org/10.17052/jces.2012.30.3.217.

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Berry, Chris. "Experimental Beijing: Gender and Globalization in Chinese Contemporary Art." Asia Pacific Journal of Anthropology 20, no. 2 (March 15, 2019): 200–202. http://dx.doi.org/10.1080/14442213.2019.1590932.

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Wah Man, Eva Kit. "About Nature: Discourses on the Boundaries of East and West in Curtis Carter’s Concern over Contemporary Chinese Art." AM Journal of Art and Media Studies, no. 22 (September 15, 2020): 43–53. http://dx.doi.org/10.25038/am.v0i22.383.

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American aesthetician Curtis Carter demonstrates genuine concern for the subject of nature in contemporary Chinese art and its representations. He correctly points out that the Chinese tradition of featuring nature in the arts represents an imaginary paradise grounded in an idealized nature. Carter’s concern regarding China’s entry into a state of globalization is the impact of Westernizing globalization on the place of nature in Chinese art. Before discussing his concern, this article provides a review of the meaning of nature in traditional Chinese art and revisits ink painter Shitao’s notion of nature in his most representative painting notes, Hua-pu. Curtis also mentions the Chinese garden, stating that gardens in urban settings are supposed to maintain the presence of nature, and exemplifying them as symbolic presentations of nature. In addressing Carter’s concern, a review of the aesthetic experience of visiting a Chinese garden is provided for background. Carter also suggests examining the practices of contemporary Chinese experimental art versus the practices of traditional art to determine whether nature will retain a significant place in today’s Chinese art practices under the strong influences of globalization. This article examines the contemporary ink landscape scene and suggests that new Chinese art involves the invention of new paradigms in art creation, the resources of which are now available globally, and that representations of nature and reality are transforming. Article received: April 30, 2020; Article accepted: June 25, 2020; Published online: September 15, 2020; Review article

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Liu, Junyi. "Aesthetic conflict in Chinese traditional music in the aspect of the contemporary globalization processes." Aspects of Historical Musicology 32, no. 32 (November 15, 2023): 169–86. http://dx.doi.org/10.34064/khnum2-32.10.

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Statement of the problem. In the conditions of globalization, art becomes the result of the interaction of many factors, artistic cooperation and competition within the framework of the formation and functioning of artistic communities. The world of traditional Chinese music provides an excellent opportunity to study how members of the artistic community respond to the differences brought about by the processes of globalization. Therefore, consideration of the aesthetic conflict in traditional Chinese music, which arises in the context of globalizing world processes, appears as a topical issue and determines the content of this article. The theoretical basis of this article refers to works devoted to the study of the concept of globalization in art and culture. The analysis of publications on the topic show that the issue of globalization as a dynamic factor of the Chinese musical culture has not been extensively studied, while it is acknowledged that the influence of European music on Chinese one has always contributed to the formation of a certain aesthetic conflict. Objectives, methods, and novelty of the research. The purpose of the study is to highlight the specifics of the development of Chinese traditional musical culture in the context of the conflict of acceptance/rejection of the globalization influences of Western culture. For the first time, the concept of aesthetic conflict as a means of dynamic progressing Chinese musical art in the context of the globalization of the cultural space is considered. As research instruments, historical and comparative, hermeneutic, interpretive, and dialectical methods are used. Research results. The article highlights three forms of changes that cultural globalization can introduce to the world of art: – creation of conditions for the transnational circulation of works and forms of art for the construction of completely new artistic concepts; – the accumulation of modern trends, namely new techniques and approaches to artistic production, in the concrete artistic world; – cases of global aesthetic influences, where ideologies and values can guide the creation of an artistic object and form criterions for defining what can be considered authentic and appropriate for a certain culture. Regular influences from the West contributed to the fact that Chinese traditional music culture began to develop from the positions of either adapting to these influences or resisting new trends in the interpretation of musical culture. From this follows the conclusion that cultural globalization is not only a process brought from outside, but also a reality that is actively created by the subjects who are involved in it. Among the transformations of Chinese musical art in the process of globalization, the ways of formation of “Chinese traditional music” are considered as a response to the integration of Western influences. Conclusion. In the course of the research, it was found that the aesthetic conflict in Chinese musical culture was formed by the way of integrating cultural resources, which is due to globalization processes and leads to the state of coexistence of different types of cultures. Such coexistence indicates the acceptance of multiculturalism by musicians in the era of globalization, when the latter creates a context for the emergence of aesthetic conflict as a means of overcoming the perception of only one culture. It is emphasized that the focus on the preservation of identity of the Chinese musical culture actualizes the option of glocalization as a means of preserving one’s own in multicultural conditions.

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Ghemawat, Pankaj, and Steven Altman. "Benchmarking Globalization to Boost Business Connections: Global Connectedness Index." IESE Insight, no. 24 (March 20, 2015): 47–53. http://dx.doi.org/10.15581/002.art-2673.

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Chegusova, Z. ""Art of Fire" of Ukraine in the Context of European Artistic Process (Exemplified by National and International Competitive Exhibitions of Ceramic Art and Glass Art)." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (December 2020): 73–81. http://dx.doi.org/10.33625/visnik2020.03.073.

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The article presents a detailed analysis of achievements of Ukrainian artists working in the field of "art of fire", in particular professional ceramics and glassworks, while attracting close attention in the general artistic process of the 1980s to 2010s. Losses of the art industry in Ukraine in the 1990s did not stop the artists from searching the ways to streamline decorative imagery, as well as non‑standard approaches to materials in the individual work of artists in this field. European and global biennials and triennials of decorative art considerably contributed to finding new ways of the “art of fire” development. During such events masters of various artistic trends and schools exchanged their experience. And that proved to be the most powerful stimulus for both intensification of creativity and strengthening experimental activities in exposition works of Ukrainian artists at the turn of the 20th and 21st centuries. Since then, Ukrainian masters of ceramics and glassworks have begun mastering the heritage of artists from other countries, which contributed to the diversification of formal techniques of Ukrainian artists of decorative art. This, in its turn, has led to the emergence of various conceptual works, installations, and complicated spatial compositions. The author also carefully considers national competitive exhibitions, all‑Ukrainian presentations and symposia, which helped to introduce the latest artistic ideas and technologies of the “art of fire” masters. This study is actualized by globalization processes taking place in civilization. Stating specific challenges posed by the globalization to national culture, the author, at the same time, finds arguments in favor of its positive effects on art. A rapid entry of Ukrainian ceramic and glass artists into the global context at the turn of the 20th – 21st centuries, does not bring about a danger of dissolving in it, given the nature of professional decorative art of Ukraine. The “art of fire” is perceived as a powerful branch in the field of national culture with its inherent features of authentic spiritual genetics, as a dynamic balance of centuries‑old traditions and modern fine arts. It is paradoxical, the author believes, that globalization generates the opposite process as well: it directs Ukrainian artists to search for archetypes of their own culture, returns to their national historical heritage, and stimulates the preservation of national identity, as a result of which the “art of fire” becomes an important factor of national and cultural identification. In the context of professional decorative art problems and from the viewpoint of national and cultural identification in the conditions of globalization processes in Ukraine, such an aspect of studying the “art of fire” within the field of art history science is considered for the first time.

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Kisin, Eugenia, and Fred R. Myers. "The Anthropology of Art, After the End of Art: Contesting the Art-Culture System." Annual Review of Anthropology 48, no. 1 (October 21, 2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.

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We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

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Yueyun, Wang. "Education as a phenomenon of the new Chinese society in the context of globalization." OOO "Zhurnal "Voprosy Istorii" 2023, no. 8-2 (August 1, 2023): 234–45. http://dx.doi.org/10.31166/voprosyistorii202308statyi54.

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Globalization has a far-reaching impact not only on the political, economic, social structure of modern states, but also on their culture, education, and the system of transferring national values. This article aims study of the historical aspects of the manifestation of globalization in the musical art and education of China. The focus is on studying the current state of globalization initiatives, its contribution, and prospects for building a new Chinese society.

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Khandekar, Nisha. "Globalisation and Its Effects on the Warli Art." Journal of Social Inclusion Studies 5, no. 2 (December 2019): 193–99. http://dx.doi.org/10.1177/2394481119901072.

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Tribal art is a decorative art rather than purely aesthetic produced from the creative minds of indigenous culture. The art which is a part of their everyday activity is deep-rooted in their tradition. Tribal paintings are living tradition that unveils the hidden meanings of tribal symbols. Tribal are interested in the reality of the image not in the image of reality. The globalization has negatively impacted upon the tribal economies, culture and identities. The freedom of expression of an artist has been affected by the pressure of globalization. It has now become the commercial activity of Warli men. Education plays an important role in changes in the art form, education helps to develop creativity and skills and that results in the changes in the designs and forms. Commercialization of painting is also one of the reasons for the changes occurred in designs and form of the painting.

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Joselit, David. "Heritage and Debt." October 171 (March 2020): 139–41. http://dx.doi.org/10.1162/octo_a_00381.

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In a brief excerpt from his book Heritage and Debt: Art in Globalization (MIT, Spring 2020), David Joselit discusses how global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism.

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Kowalewski, Michał. "TWO PERSPECTIVES ON MODERN ART EDUCATION – BETWEEN MARGINALIZATION AND GLOBALIZATION." Zeszyty Naukowe Wyższej Szkoły Humanitas w Sosnowcu. Pedagogika 20 (June 10, 2019): 261–72. http://dx.doi.org/10.5604/01.3001.0013.2308.

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In the considerations dedicated to the place of art education in modern culture, one could not omit the notions of marginalization and globalization. They set new opportunities and limitations, indicate major issues with which the Polish art education has to deal with. Considering art education, one should remember that this is not only the matter of defining its place, but also creating it. For it to be feasible, it is necessary to notice the changes, to follow the new forms of participation in culture, in education, conditioned most of all by technology and civilization. The consequence of this is, just to mention, the fact that the consumers of education-related activities – do not allow to be squeezed into the framework of the hierarchy-depended education process. Their culture-wise competences are fairly diverse and may be frequently better, in some fields, than those of the educators

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Knepper, Wendy. "Colonization, Creolization, and Globalization: The Art and Ruses of Bricolage." Small Axe: A Caribbean Journal of Criticism 21 (October 2006): 70–86. http://dx.doi.org/10.2979/sax.2006.-.21.70.

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Sirisuk, Metta. "Localism in Contemporary Thai Art during the Era of Globalization." International Journal of Interdisciplinary Cultural Studies 15, no. 2 (2020): 1–10. http://dx.doi.org/10.18848/2327-008x/cgp/v15i02/1-10.

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Tavin, Kevin, and Jerome Hausman. "Art Education and Visual Culture in the Age of Globalization." Art Education 57, no. 5 (September 2004): 47–53. http://dx.doi.org/10.1080/00043125.2004.11653568.

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