Re-envisioning the Contemporary Art Canon

Re-envisioning the Contemporary Art Canon: Perspectives in a Global World seeks to dissect and interrogate the nature of the present-day art field, which has experienced dramatic shifts in the past 50 years. In discussions of the canon of art history, the notion of 'inclusiveness', both at the level of rhetoric and as a desired practice is on the rise and gradually replacing talk of 'exclusion', which dominated critiques of the canon up until two decades ago. The art field has dramatically, if insufficiently, changed in the half-century since the first protests and critiques of the exclusion of 'others' from the art canon. With increased globalization and shifting geopolitics, the art field is expanding beyond its Euro-American focus, as is particularly evident in the large-scale international biennales now held all over the globe. Are canons and counter-canons still relevant? Can they be re-envisioned rather than merely revised? Following an introduction that discusses these issues, thirteen newly commissioned essays present case studies of consecration in the contemporary art field, and three commissioned discussions present diverse positions on issues of the canon and consecration processes today. This volume will be of interest to instructors and students of contemporary art, art history, and museum and curatorial studies.

Ruth E. Iskin is the author of The Poster: Art, Advertising, Design, and Collecting, 1860s-1900s (2014) and Modern Women and Parisian Consumer Culture in Impressionist Painting (2007). Her articles appeared in the Art Bulletin, Discourse, and Nineteenth-Century Art World Wide among others, and in anthologies and museum catalogues, most recently of the Guggenheim, Bilbau. A member of the Department of the Arts faculty, Ben-Gurion University of the Negev until 2014, she currently lectures and teaches in Israel and abroad.

Introduction Re-envisioning the Canon: Are Pluriversal Canons Possible? Ruth E. Iskin Part I: Artists Introduction Chapter 1 Claude Cahun and Marcel Moore: Casualties of a Backfiring Canon? Tirza True Latimer Chapter 2 Jean-Michel Basquiat and the American Art Canon Jordana Moore Saggese Chapter 3 Sheila Hicks and the Consecration of Fiber Art Elissa Auther Chapter 4 The Elephant in the Church: Ai Weiwei, the Media Circus and the Global Canon Wenny Teo Chapter 5 El Anatsui's Abstractions: Transformations, Analogies and the New Global Elizabeth Harney Part II: Mediums/Media Introduction Chapter 6 The Apotheosis of Video Art William Kaizen Chapter 7 Performance Art: Part of the Canon? Jennie Klein Chapter 8 Street Art: Critique, Commodification, Canonization Paula J. Birnbaum Chapter 9 New Media Art and Canonization: A Round-Robin Conversation Sarah Cook with Karin de Wild Part III: Exhibitions, Museums, Markets Introduction Chapter 10 On the Canon of Exhibition History Felix Vogel Chapter 11 Canonizing Hitler's "Degenerate Art" in Three American Exhibitions, 1939-1942 Jennifer McComas Chapter 12 Museum Relations Martha Buskirk Chapter 13 The Commodification of the Contemporary Artist and High-Profile Solo Exhibition: The Case of Takashi Murakami Ronit Milano Chapter 14 Troubling Canons: Curating and Exhibiting Women's and Feminist Art, A Roundtable Discussion Helena Reckitt Chapter 15 The Contemporary Art Canon and the Market, A Roundtable Discussion Jonathan T. D. Neil