Global Art Research Articles

“They Don't Even Know How Ethnocentric They're Being”: Comparative Approaches to Worldview Diversity Education

Is diversity education in international education ethnocentric? Viewed from a critical internationalization studies lens, how diversity work is framed, crafted, or exported has the potential to ‘other’ alternate worldviews and reinforce neocolonial relations in international higher education. Conversely, global diversity education offers an opportunity to collectively reimagine internationalization as otherwise, encouraging mutuality in theorizing and contextualization in praxis. This article presents findings from a sequential exploratory comparative case study of approaches to worldview diversity education that combined a representational survey with elite interviews of global liberal arts campus leaders, unearthing commonalities as well as critiques of Global North dominance in international diversity, equity, inclusion, justice and belonging (DEIJB) work. In amplifying the leaders’ common expressions of worldview diversity education and highlighting their critiques and recommendations for practice, this article offers global perspective to enhance epistemic justice in the conceptualization and delivery of global diversity education.

Exploration of Technological Innovation and Market Strategy of Auction Houses

The global art auction market has long been dominated by two major auction houses, Christie's and Sotheby's, whose global networks and expertise in high-end art transactions have established their leading position. However, in recent years, the rise of the Chinese market has injected new vitality into the global art auction landscape. Although local competitors such as China Guardian and Poly Auction have performed well in regional markets, they face cultural and economic context constraints in their global expansion. This study reviews the latest developments in the art auction industry, with a particular focus on the strategic choices of auction houses and potential opportunities for international competition, while exploring the profound impact of technological innovation on transaction efficiency, market expansion, and customer experience. The study found that Western auction houses rely on diversified asset portfolios and technological innovation to maintain their global advantages, while Chinese auction houses attract emerging consumer groups through specialization in traditional art fields and digital tools. However, the rapid development of technology may invalidate some of the research conclusions, and it is recommended to conduct long-term research in the future to reveal the continued impact of technological changes on the auction industry.

‘The Pompidou Of Iguaçu’: Cultural Impact And Reconfiguration Of The Art Systems In South America

Exploring the history of Centre Pompidou and its global influence within 21stcentury art systems, this article analyses its museological model and expansion strategy, focusing on plans to establish a Brazilian outpost in Foz do Iguaçu, located in the triple border area between Argentina and Paraguay. Drawing on recent literature and media coverage, the study addresses soft power relations and the so-called Bilbao Effect as key concepts in this operation. It highlights similarities with the global rise of private art museums and examines the hybrid public-private nature of the enterprise in Brazil. The article compares this initiative to other Centre Pompidou expansions in Spain, China, and the United States, discussing concerns raised by academics in these regions regarding the display of major private collections and public art policies in contemporary South America. Finally, the cultural impacts of this expansion are explored, focusing on the potential homogenisation and exoticisation of local cultures, framed as part of a re-colonial process that commodifies cultural differences. Keywords: Centre Pompidou expansion, global art systems, Foz do Iguaçu art museum, museological models, cultural impact.

Across Borders and Art Histories: Travelling Exhibitions

The concept of art geography is undergoing a process of revision in light of recent research on exhibition histories. The analysis of major perennial art exhibitions is conducted in relation to the spatial, global structures of social and economic life, or as an aspect of tourism geographies. The geography of art exhibitions entails mapping circulation, analysing the spatial and temporal conditions under which art is presented, and the identifying cultural boundaries in the reception of travelling artworks. This article examines the circulation of international exhibitions that were presented at the Central Bureau of Art Exhibitions (CBAE) in Warsaw as part of cultural diplomacy i the 1970s. During this decade, the CBAE gallery hosted exhibitions of contemporary art from twenty-one countries. What kind of foreign art was seen at the state-organised exhibitions in Warsaw depended on global geopolitics. The primary case study is the exhibition Contemporary Indian Art from the Collection of the National Gallery of Modern Art in New Delhi, which was toured from New Delhi through the Middle East to Eastern Europe (including Warsaw and Prague) in 1978–79. The exhibition brought together 100 works by 80 artists, created between the 1920s and 1970s. It included paintings by pioneers of modern and contemporary Indian art, such as Jamini Roy, Amrita Sher-Gil, Rabindranath Tagore, Gaganendranath Tagore, and K.C.S. Paniker. The diplomatic circumstances of organising the exhibition in Warsaw are set in the broader context of the Polish-Indian art exchange since the 1950s. This encompasses Poland’s participation in the New Delhi Triennial (established in 1968) and the completion of the modernist building of the Polish Embassy in New Delhi (1978). Furthermore, the article examines the impact of travelling national exhibitions on fostering intercultural understanding. The Contemporary Indian Art exhibition provided a valuable opportunity to transcend the conventional boundaries of Indian and Polish art histories. While in the 1960s and 1970s Polish academic discourse typically concluded the history of Indian art in the 1910s, the exhibition’s catalogue served as the primary source of information on twentieth-century Indian art. Consequently, the reception of Contemporary Indian Art in Warsaw is contextualised within the broader discourse of global art history and postcolonial studies.

Психоэстетическая концепция А.В. Бакушинского и периодизация онтогенеза

<p>Interest in the work of A.V. Bakushinsky stems from the significance of his psycho-aesthetic concept for contemporary developmental psychology. This concept outlines the stages of mental development associated with a child's perceptual capabilities within the context of global fine art. The article presents an argument supporting A.V. Bakushinsky’s commitment to the cultural-historical approach in evaluating ontogenesis. A.V. Bakushinsky illustrates the parallels between the means of global fine art and the use of artistic symbols by children in their visual activities, following the developmental patterns of the child's psyche. The article also offers a comparative analysis of the approaches taken by A.V. Bakushinsky and A.V. Zaporozhets. They assess the evolution of perception. The similarities and differences in the conclusions of A.V. Bakushinsky and O.M. Dyachenko regarding the formation of images as symbolic means in ontogenesis are examined. A.V. Bakushinsky's ideas hold practical significance for elucidating the perception of the diversity of information, which the scientist called the “multiplicity of the world.” The findings of this study can be used by specialists in the design and evaluation of a developmental educational environment.</p>

FORMAL AESTHETICS IN CONTEMPORARY CHINESE LANDSCAPE OIL PAINTINGS: SCHEMA RESEARCH AND ANALYSIS

In the field of global art, contemporary Chinese landscape oil painting is gradually gaining recognition and attention from the international community with its unique artistic charm and profound cultural connotation. This study is committed to an in-depth exploration of the formal aesthetics of contemporary Chinese landscape oil painting. By studying and analyzing the schema of representative works, it reveals its unique aesthetic characteristics in terms of formal composition, color application, and performance techniques. This study uses qualitative research methods, interviews with artists, and visual analysis of artworks to further understand their creative concepts and schema characteristics. The results show that while retaining the essence of traditional painting, contemporary Chinese landscape oil painting has also absorbed the expressive forms of Western art, showing rich diversity and innovation. Many works have not only made breakthroughs in artistic expression, but also touched on deep-seated issues such as modern society, environmental protection, and cultural heritage in terms of themes. Through this study, a new perspective and theoretical support are provided for the academic research of contemporary Chinese landscape oil painting, and a new perspective and ideas are also provided for future artistic creation and research.

Migrating arts with (out) migrating artists: Decentering the global art world

Migrating arts with (out) migrating artists: Decentering the global art world

Review of the “2023 international symposium on global art market research”

The 2023 International Symposium on Global Art Market Research aimed to spark a renewed conversation about global art market research in the post-pandemic era. The event featured both cross-disciplinary and multi-disciplinary approaches to the study of international art markets, focusing on the theme of “re-globalization.” Scholars from around the world presented analyses of regional dynamics from a global perspective, highlighting the connections and divisions within the global art market, and exploring the construction and mobility of art market centers and non-centers. In the context of globalization and plurality, the research presented by several scholars reflects a concern for the identity of the participants in the market, demonstrating both cooperation and confrontation in the process of art market globalization. The symposium also advocated for the application of emerging tools and interdisciplinary research methods within the art market research paradigm. The topics covered during the event reflect the comprehensive nature of art market research, offering valuable insights and methodologies for advancing the field.

Canons and counter canons in the battles about global art

The Cubists’ fascination with African and Oceanic art and its revolutionary influence on Western art in the early 1900s is an important stage in the develop­ ment of modern art. Meanwhile in Africa, in what is now Nigeria, there was a reciprocal interest in Western figurative art, which eventually led to the establish­ ment of academic art education in West Africa. This second story, however, is much less known and, when it is told, the adoption of Western influences has generally been seen as passive and even damaging. Now that these ‘othered’ voices are claiming attention and bringing their views to the art historical debate, Western and non-Western art narratives need to be retold from new perspectives. This article examines two moments, one at the beginning and the other at the end of the 20th century, when the West has enhanced its artistic production by leaning on influences from elsewhere while maintaining the right to grant or deny the status of art for cultural objects to itself. The article calls into question Western practices in categorising products of visual expression and highlights the contractual nature of art historical classifications and canons.

Global Early Modern Art in Seven Objects

Abstract Globality has remarkably dominated art historical discourse and practice in the past three decades. Within early modern studies, the global turn has highlighted the possibility of and the need for broader, more connected histories. This push has provided us with a range of multivalent conceptual tools, such as mobility, connectivity, entanglement, and interconnectedness. Departing from a single object, each essay in this special issue considers the promising potential and the limitations of globalizing perspectives, and suggests how this line of research may move forward. How global is early modern art? How global are our histories of early modern art? What are the ethical and methodological issues ingrained in our stories of connections and encounters? As art historians, how do we grapple with tensions between universalism and cultural relativism? How can we strike a balance between local and global expressions of materials, space, and lived experience? In this moment of new wars, shifting borders, migrations, and natural and social disasters, we also consider what lessons art historians can draw from the forms of domination, oppression, violence, and conflict inherent in early globalization.

From Trap to Memphis Rap

Studies on the development of hip-hop music and culture in China share a common interest in hip-hop’s subservient role played in compliance with China’s strict censorship. But by tactfully tampering with this political intervention, the music has now transformed its pre-established aesthetics and concomitant subcultural influences to challenge the existing scholarly understandings. Chinese artists, inspired by hip-hop subgenres of trap and Memphis rap that originated in American southern regions, have incorporated and further reconfigured hip-hop’s subversive doctrines to challenge ideological regulations. By analyzing the music productions of quintessential Chinese hip-hop figures such as Higher Brothers and Dao Jiao, this study aims to demonstrate how artists draw from a global cultural art form to communicate their local beliefs. The findings suggest that the paradigm of hip-hop can be recontextualized when integrated into a new socio-cultural setting through translocalized adaptations.

BALI PAINTING MARKET: A BRIEF HISTORY AND EXPLORATION OF VARIOUS FACTORS AFFECTING ITS DEVELOPMENT

This article presents a brief history of the art market in Bali and explores the various factors that have influenced its development. We also examine how local culture, the tourist market, village networks, government policies, and the global art market have shaped the trajectory of Balinese art. These forces include the assumption of local culture to art, the commercialization along with the opening of the tourist market, the local network based on village lives, the state policy to promote Balinese art and culture, and the effects brought by the booming of the global art market dominated by financial capital. Local concepts with cultural specificity are pivotal in our analysis, for example, the role culture plays in art practice nowadays and before, and what influence it brings to the transformation from art for religious purposes to cultural products for commerce. In conclusion, we highlight that the Balinese art market stands apart from other local art markets worldwide due to its close connection with Bali's reputation as a renowned tourist destination. The interplay of dynamic forces has shaped the market's growth, structure, and uniqueness over the years.

Henri van de Waal’s (1910-1972) unfinished Beeldleer: Exploring new potentials of an iconological classification for the history of the arts

Henri van de Waal (1910-1972), well-known for his development of Iconclass, also worked on a classification system of the arts that has remained unknown to many, entitled ‘Beeldleer’ (Iconology).This article explores the new potentials of Beeldleer, despite its unfinished and occasionally outdated character, to complement historical debates on iconology, and for future application in digital art history. Firstly, it will be demonstrated, using unpublished archival documents of the development of Beeldleer, why it is a necessary addition to Iconclass to fully understand Van de Waals approaches of art history in general and his views on iconography and iconology in particular. Although Iconclass certainly has classes that are relevant beyond a history of art based purely on semantic meaning using foremost figurative examples, Beeldleer has additional value. A comparison between these classification systems revealed that the publication of Beeldleer, even in the unfinished state it has remained in, would allow for much completer descriptions of non-figurative aspects of the arts, also in non-Western contexts. Secondly, Van de Waal’s contribution to iconology has merely been read through the lens of Iconclass and foremost in comparison with the views of Aby Warburg and Erwin Panofsky. Although Van de Waal admired these art historians, archival sources make clear that he put more emphasis on the role of observation to come to a theory of form. He regarded such a theory a precondition for iconology as a theory of meaning for understanding the function of the image in society. Van de Waal’s Beeldleer is not only relevant for the historiography of iconology in the Low Countries but can also contribute to analyses of international debates in the history of art and media studies (in particular around ‘Bildwissenschaft’). Moreover, after update of some classes, Beeldleer allows for classifying the outcomes of current analyses of the making of artworks and of global art history. Thirdly, the article demonstrates that Beeldleer can be crucial in providing more art historical context in modeling and (pre-) classifying the outcomes of computer vision experiments. In particular, the many classes to capture formal aspects make Beeldleer very useful for such experiments in digital art history. The inclusion of many categories that refer to non-visual arts allows for linking to other classifications. The publication of Beeldleer on the Semantic Web could be the realization of Van de Waal’s ‘globus iconographicus’, a tool designed to map uncharted areas of iconography and iconology.

The Evolution of Azerbaijani Dance in the Study of Afag Husseinova: A Practical Guide for a Quick Immersion in the Subject

This article analyses Afag Husseinova’s book “The Evolution of Azerbaijani Dance,” which represents a substantial contribution to the field of study. The research encompasses the origins, historical evolution, and contemporary practices of Azerbaijani dance art. Assessing the impact of this work on the choreology of Azerbaijan necessitated not only a content analysis of the book but also an examination of the context, including a review of scholarly sources on this and related topics accessible to contemporary researchers. An expeditious examination of the historiography of Azerbaijani dance disclosed a lack of comprehensive research in this domain, thereby highlighting the significance of A. Husseinova’s contributions.The book delineates the history of Azerbaijani dance into three distinct periods: prehistoric, mediaeval, and modern. The analytical sources comprise petroglyphs, medieval manuscripts, miniatures, and contemporary ethnochoreological data. The author delineates the relationship between traditional dance forms and contemporary Azerbaijani ballet. A. Husseinova meticulously analyses the origins of Azerbaijani dance, encompassing folklore traditions, mugham, the art of ashugs, and the impact of Russian and Western ballet schools. She examines the progression of the yalli circle dance from the Paleolithic Gobustan petroglyphs to contemporary ballet performances. Special emphasis is placed on the impact of medieval miniatures as a source for understanding the evolution of dance traditions. The study categorizes folk dances and emphasizes their ritualistic, matrimonial, quotidian, and additional roles. The primary benefit of the book is its linguistic accessibility and concise presentation, enabling rapid immersion in the subject matter. Critical comments and suggestions include the lack of appendices containing a glossary of terms, a bibliography of Azerbaijani dance, and a list of the most significant figures. Furthermore, should the author intend to produce an expanded edition, the book could be supplemented with multimedia materials under contemporary circumstances. A. Husseinova’s book makes a substantial contribution to Azerbaijani choreology by revealing the principal facets of country’s choreography and dance art. The publication will serve as a pedagogical resource for student choreographers and musicians, as well as for scholars engaged in cross-cultural and interdisciplinary research. It facilitates the dissemination and comprehensive examination of Azerbaijani dance as a distinctive phenomenon within global art.

The Art of White Space in the Film Throne of Blood (1957): A Comprehensive Exploration

Abstract: As one of the outstanding directors in the history of world cinema, Akira Kurosawa's film works have profoundly influenced the development of global cinematic art. Among them, Throne of Blood (1957), as his adaptation of Shakespeare's classic tragedy Macbeth, not only demonstrates Kurosawa's precise grasp of the spirit of the original text, but also makes bold innovations in artistic creation, especially his unique use of the art of white space, which adds abundant artistic charm and depth to the film. As a core element of East Asian aesthetics and artistic expression, the use of white space in Throne of Blood brings unprecedented effects to the narrative, visual presentation and psychological portrayal of the film. Therefore, an in-depth study of the art of white space in Throne of Blood is of great significance in understanding Kurosawa's artistic style, the embodiment of East Asian aesthetics in the film, and the diversity of artistic expressions. The purpose of this study is to delve into the art of whitespace in Akira Kurosawa's film Throne of Blood, specifically examining its multiple roles in storytelling, visual expression and psychological depth, and how these roles work together to elevate the film to new heights of artistic achievement.

Exploring Global Arts Movements and Their Impact on Health Education

This review investigates the intersection between global art movements and health education, exploring how art can play a transformative role in promoting health awareness and education, particularly in under-resourced communities. Drawing on philosophical theories of creativity, behavior change, and real-world case studies, this research highlights how arts initiatives have contributed to public health awareness and education. The paper addresses the integration of arts in health education, the challenges faced, and the opportunities for creating a more holistic approach to health promotion. The review concludes by emphasizing the importance of cross-disciplinary partnerships to further integrate arts into health education for a more profound global impact. Keywords: Global arts movements, Health education, Public health, Arts initiatives, Social change.

Analysis of Jingdezhen Yaoli Ancient Town's Ceramic Culture: Historical Threads and Modern Inheritance

This paper aims to thoroughly explore the unique status and contributions of Jingdezhen Yaoli Ancient Town as a significant birthplace of traditional Chinese ceramic culture. By analyzing its long history of ceramic production, exquisite craftsmanship techniques, extensive cultural influence, and paths of inheritance and development in modern society, it reveals the irreplaceable role of Yaoli Ancient Town in promoting Chinese and even global ceramic art and cultural exchanges.

Cross-Cultural Communication and Diversity in Contemporary Art

With the accelerated development of globalization, cross-cultural communication has become an important component of contemporary art, and diverse expressions in artistic creation have become the core of cultural interaction and innovation. Cross-cultural communication not only drives innovation in art forms but also allows the blending of artistic elements from different cultural backgrounds, reflecting the fluidity and complexity of cultural identity. This paper explores the far-reaching impact of cross-cultural communication on contemporary art creation, particularly in the context of globalization, through an analysis of cultural interaction mechanisms in contemporary art, innovative paths of artistic language, and the cultural identity and conflicts within cross-cultural exchanges. The study highlights how the diversity of artistic expression promotes social and cultural awareness. In the future, as new technologies continue to advance, cross-cultural artistic creation will further expand the scope of global art exchanges and promote deeper cultural identity and integration.

Tools for the Portuguese contemporary art market

In the past two decades, the art market has seen significant growth, with scholars and academics across the globe showing newfound interest in its potential as an interdisciplinary field. This has led to a prolific number of publications, particularly through the lens of globalization. However, a dearth of studies from regions outside the main axes remains, despite the potential for such studies to challenge globalization. This article investigates the primary art market of Portugal, located in southwestern Europe, which borrows ideas from the Global South due to similarities with regions from outside Europe and North America. We apply this concept to the features from a country, namely Portugal that is considered semi-peripheral and marginalized within dominant narratives. We emphasize the permanent tension between the local actuation and the global aspirations of the players in this market. Using literature published on the subject, reports, and interviews, we systematize the mechanisms of activation of the primary market; the launch of art fairs; the emergence of contemporary art galleries, museums, and collectors; and the discourse surrounding the recognition of the global art scene. Despite being a small-scale, semi-peripheral market, a willingness exists to internationalize. Furthermore, in addition to its rich cultural history and substantial investments, mainly from the private sector, the market has attracted international audiences from the artistic milieu and thereby contributed to the heterogeneity observed in the Global South.

From here to eternity: The rise and fall of global art worlds and the contemporary private museum

The process of converting a private collection into a public museum is often presented as a means of ensuring a collection’s future by transforming it into an enduring asset for future generations. This case study assesses contemporary collection models as well as entrepreneurial investor-collectors and their respective museum-building strategies by addressing two fundamental questions: (1) What is the role of the contemporary art collector and private museum and (2) How do their interactions with art markets challenge the established protocols and hierarchies of the global art network? It shall be argued that private collection museums often have a limited lifespan. Furthermore, the future of private collections and museums is often determined within the lifetimes of their creators. This can play out in one of four ways: first, collectors may offer artworks at high-profile auction houses; second, they may sell the art collection and close the museum or collector’s exhibition space; third, they may sell the museum or exhibition space. Alternatively, private collectors, along with their museums and art collections, can play an important role on the global stage. However, more rigorous planning is necessary for these collectors to distinguish themselves, expand the cultural landscape, and ensure their collections endure within or beyond their creators’ lifetime.