Biennials, Triennials, and Documenta: The Exhibitions that Created Contemporary Art

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en Limba Engleză Carte Paperback – 06 May 2016

This innovative new history examines in–depth how the growing popularity of large–scale international survey exhibitions, or ′biennials′, has influenced global contemporary art since the 1950s.

  • Provides a comprehensive global history of biennialization from the rise of the European star–curator in the 1970s to the emergence of mega–exhibitions in Asia in the 1990s
  • Introduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression, from the Biennale de la Méditerranée in Alexandria, Egypt in 1955, the second Havana Biennial of 1986, New York s Whitney Biennial in 1993, and the 2002 Documenta11 in Kassel, to the Gwangju Biennale of 2014
  • Explores the evolving curatorial approaches to biennials, including analysis of the roles of sponsors, philanthropists and biennial directors and their re–shaping of the contemporary art scene
  • Uses the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art
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ISBN-13: 9781444336658
ISBN-10: 1444336657
Pagini: 304
Dimensiuni: 153 x 226 x 16 mm
Greutate: 0.50 kg
Editura: Wiley
Locul publicării: Chichester, United Kingdom

Public țintă

Undergraduate and graduate students of art, art history, curatorship, and museum and gallery studies; art curators, gallerists, collectors, critics, and dedicated exhibition visitors


Preface vii Introduction 3
Part 1 The SecondWave
1 1972: The Rise of the Star–Curator 19
2 1979: Cultural Translation, Cultural Exclusion, and the Second Wave 49
3 1986: The South and the Edges of the Global 81
Part 2 The Politics of Legitimacy
4 1989: Asian Biennialization 111
5 1997: Biennials, Migration, and Itinerancy 145
Part 3 Hegemony or a New Canon
6 2002: Cosmopolitanism 183
7 2003: Delegating Authority 209
8 2014: Global Art Circuits 241
9 Conclusion 272
Index 279


‘This book will certainly become one of the first points of reference for audiences interested in the subject due to its critical heftiness.’ – Wiktor Komorowski, Immediations, 2016 vol.4, no.1

Textul de pe ultima copertă

In this engaging and insightful new treatise, Charles Green and Anthony Gardner examine in–depth the history and popularization of large–scale international survey exhibitions, or biennials , and their impact on contemporary art since the 1950s. From the 1972 director–driven documenta 5 at Kassel to the rise of mega–exhibitions across Asia in the 1990s and 2000s, and the renewed ascendancy of gargantuan biennials in the 21st century, Biennials, Triennials and Documenta offers a comprehensive history of biennialization that is global in scope. In addition to interrogating specific curatorial models and methods, Green and Gardner use the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art.

With a comprehensive global array of case studies seamlessly connected through shrewd narrative analysis, this innovative new book will be essential reading for curatorial and museum studies students and scholars, aspiring curators, gallerists, and all those interested in the exhibition of contemporary art.

Notă biografică

Charles Green is Professor of Contemporary Art at the University of Melbourne. He is the author of The Third Hand: Artist Collaborations from Conceptualism to Postmodernism (2001) and Peripheral Vision: Contemporary Australian Art 1970–94 (1995) and co–author of Framing Conflict: War, Peace and Aftermath (2014, with L. Brown and J. Cattapan). As Adjunct Senior Curator of Contemporary Art at the National Gallery of Victoria he co–curated Fieldwork: Australian Art 1968–2002 (2002), world rush—4 artists (2003), 2004: Australian Visual Culture Now (ACMI/NGVA, 2004), and 2006: Contemporary Commonwealth (ACMI/NGVA, 2006). Green is also an artist working in collaboration with Lyndell Brown since 1989.

Anthony Gardner is Associate Professor in Contemporary Art History and Theory at the Ruskin School of Art at the University of Oxford. He is the author of Politically Unbecoming: Postsocialist Art Against Democracy (2015), the editor of Mapping South: Journeys in South–South Cultural Relations (2013) and a co–editor of the journal ArtMargins.