Globalizing Contemporary Art: The Art World's New Internationalism

By Lotte Philipsen | Go to book overview

CHAPTER 7
From art to ethnic politics

In the first issue of Third Text, in 1987, Rasheed Araeen published an article called “From primitivism to ethnic art”, where he claimed that the notion of ’ethnic art’, in relation to the contemporary art scene at that time, was no more than a new label for institutional primitivism in Britain.340 Since then, the struggle of New Internationalism has led to a situation where contemporary art is naturally considered in a global perspective – as the development of Documenta over five decades demonstrates – although confusions between the artist subject and the work of art still occur.

This final chapter will argue that the success of New Internationalism within art institutions that understand themselves as working according to the intentions of New Internationalism has led to a situation that not only goes further than originally intended, but also in some respects marks a return to the ethnic focus that the discourse originally sought to move beyond. This situation has developed out of a double move: first, a move from ‘contemporary (new international) art’ to ‘political art’, and second, from ‘political art’ to ‘ethnic politics’. In many respects Documenta 11 manifested this development, as we shall see in the following.


Documenta 11

Documenta 11, in 2002, is particularly interesting when investigating New Internationalism, due to its curatorial concept, its reception by art criticism, and its chief curator. The chief curator of each Documenta exhibition is appointed about four years prior to the exhibition, by the Documenta supervisory board, and the board’s appointment of the critic and curator Okwui Enwezor as the leading curator of Documenta 11 aroused a great deal of attention among critics, due to the fact that Enwezor was the first ‘non-European’ Documenta

-147-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Globalizing Contemporary Art: The Art World's New Internationalism
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 214

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.