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Biennials, Triennials, and Documenta
The Exhibitions that Created Contemporary Art
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Biennials, Triennials, and Documenta
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Book Hero Magic created this recommendation. While it's new and still learning, it may not be perfect - your feedback is welcome! IS THIS YOUR NEXT READ?
This book is ideal for students, scholars, and professionals interested in contemporary art, curatorial practices, and global art exhibitions. It offers valuable insights for readers keen on understanding the evolution of biennials and their impact on global art trends and cultural exchange.
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.
Book Hero Magic formatted this description to make it easier to read. While it's new and
still learning, it may not be perfect - your
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Description
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.
Biennials, Triennials, and Documenta 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.
It introduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression. These include 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.
The book 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.
Furthermore, it uses the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art.
Book Hero Magic summarised reviews for this book. While it's new and still learning, it may not be perfect - your feedback is welcome! HOW HAS THIS BEEN REVIEWED?
Biennials, Triennials and Documenta is acclaimed as an excellent introduction to the globalisation of biennials, thoroughly covering major events across continents. It has been praised for detailing the breadth of biennial-type exhibitions such as Documenta, Manifesta, and Venice Biennales in Europe; São Paulo and Havana in South America; Johannesburg in Africa; Sydney and Asia-Pacific Triennials in Australia; and Gwangju, Shanghai, and Istanbul in Asia. This work provides a well-rounded survey appreciated by scholars and enthusiasts alike. – H-Net: Humanities and Social Science Reviews Online, July 2019
Book Details
INFORMATION
ISBN: 9781444336658
Publisher: John Wiley and Sons Ltd
Format: Paperback / softback
Date Published: 06 May 2016
Country: United Kingdom
Imprint: Wiley-Blackwell
Audience: Professional and scholarly
DIMENSIONS
Spine width: 15.0mm
Width: 155.0mm
Height: 229.0mm
Weight: 494g
Pages: 304
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About the Author
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.
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