Art Crossing Borders

Art Crossing Borders offers a thought-provoking analysis of the internationalisation of the art market during the long nineteenth century. Twelve experts, dealing with a wide variety of geographical, temporal, and commercial contexts, explore how the gradual integration of art markets structurally depended on the simultaneous rise of nationalist modes of thinking, in unexpected and ambiguous ways. By presenting a radically international research perspective Art Crossing Borders offers a crucial contribution to the field of art market studies.

This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe’s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists’ strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period.

A cross-disciplinary appraisal on the role of migration embodied in works of art and material culture Artistic production and the preservation of cultural property have always been subject to the ebb and flow of international influences. Major factors have included the supply of materials, the migration of artists, designers and craftspeople, as well as evolving conservation theory and practice within the spheres of the fine and applied arts. The cross-disciplinary papers in this volume, presented at a conference in Cambridge, reflect on the role of migration embodied in works of art and material culture as documented in visual and written sources.

Examining works by Toni Morrison, Paule Marshall, Faith Ringgold, and Betye Saar, this innovative book frames black women's aesthetic sensibilities across art forms. Investigating the relationship between vernacular folk culture and formal expression, this study establishes how each of the four artists engaged the identity issues of the 1960s and used folklore as a strategy for crossing borders in the works they created during the following two decades. Because of its interdisciplinary approach, this study will appeal to students and scholars in many fields, including African American literature, art history, women's studies, diaspora studies, and cultural studies.

This innovative book represents a timely intervention in both critical discourses on video and new media art, as well as examination of gender in post-Socialist contexts. The chapters explore how encounters between art and technology have been implicated in the representation and analysis of gender, critically reflecting current debates and politics across the region and Europe. The book offers a diversity of analytical contexts, addressing interwoven histories across post-Socialist Europe, and engages the paradigms of art practice and the visual cultures such histories uphold. Contributors have given a broad interpretation to the questions of video, media and performance, as well as to mediation in relation to art and gender, reflecting on a wide range of subjects, from the curatorial role to artistic practice, cross-cultural collaboration, co-production, democracy and representation, and impasses in securing streamlined identities. The volume brings together rigorously theoretical and visually comprehensive examinations of examples of works, featuring artists such as: Bernd and Hilla Becher; Anna Daučiková; Izabella Gustowska; Judit Kele; Komar and Melamid; Andrzej Karmasz; Marko Marković; Oleg Mavromatti; Tanja Ostojić; Nebojša Šerić Šoba; Mare Tralla; Ulay and Abramović and others. Contributors: Inga Fonar Cocos, Mark Gisbourne, Marina Gržinić, Beata Hock, Katarzyna Kosmala, Paweł Leszkowicz, Iliyana Nedkova, Agata Rogoś, Boryana Rossa, Aneta Stojnić, Josip Zanki. Preface by Katy Deepwell.

The Rodríguez Collection Dedicated to preserving the history and significance of Cuban art, the Rodríguez Collection showcases the work of artists who have established the key tenets of a visual language with global implications that reach beyond the island and its diaspora. The artists represent more than a Cuban identity as they come to be recognized in international venues as an affirmation of the island's long tradition of creativity, academic and technical excellence, even under the worst of circumstances. Cuban artists, who established a new course of modernism for the country, to the most outstanding international artists of the present day, have become part of the Rodríguez Collection and this book serves as official documentation of an artistic and cultural journey revealed through works of art. The Collection is also more than just a selection chosen by a single person, it reflects the community in which so many of the artists now live and work, and a venue for discourse and sharing that continuously develops its curatorial concepts to introduce new ideas, artists and works of art, and bridge the gaps of time and place.

Artists design spaces and buildings, including furnishings and lighting, and offer interior design consulting, while designers create purposeless objects as a one of a kind or in small numbers. Where is the dividing line between liberal and applied art, considering that artists and designers are increasingly establishing themselves in new disciplines, the markets for liberal and applied arts are leveling out, and arguments about the unequal taxation of creative products are flaring up? Internationally renowned scientists, curators, artists, and designers present quite contrasting points of view in this volume. With contributions by Katia Baudin, Alex Coles, Christine Hill, El Ultimo Grito, Louise Schouwenberg, Wolfgang Ullrich, Annett Zinsmeister.