第34届世界艺术史大会将于2016年拉开帷幕。大会前夕，由第4分会中方主席中国美术学院副院长、美术馆馆长杭间，第17分会中方主席中国美术学院副院长高士明，第21分会中方主席中国美术学院艺术人文学院院长曹意强发起，邀请三个分会场的学者和嘉宾，于9月12-13日在中国美术学院南山校区举办——2016世界艺术史大会中国美术学院研讨会。
为了帮助大家进一步了解大会的内容，增加大会的教育意义，准备了基础入门类推荐书目以供提前阅读。
关于第二十一会场“多元与世界”
本会场的题目是“多元与世界”，所针对的议题为艺术史研究中的经典在过去、现在和将来是如何被再现和整合的，以及经典如何受到媒体的挑战、改变和转化。会议将从历史和当代的视角来考察关于经典的各种记录、视觉再现和它的众多竞争者。借助专门的个案研究和更为宏观的理论探讨，本会场旨在分析再现式媒介和技术在世界范围内如何冲击人们对经典的接受，进而在认识论上为定义和理解艺术史的各种概念作出一定的贡献，而此刻的艺术史正介于全球化背景下学科的传统及其未来之间。
好 | 书 | 推 | 荐
推荐人：青年主席范白丁
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Circulations in the Global History of Art
编者:Thomas DaCosta Kaufmann, Catherine Dossin, Beatrice Joyeux-Prunel
出版社: Ashgate
出版年: 2015
内容简介
全球化艺术史提倡采取统一的方式来均衡看待艺术品，本书强调的问题关乎作为传播方式的跨文化碰撞与交流。此书展示了一种强调文化联系的策略，并同时回应当今艺术全球化的动态。此书阐述全球化艺术史的历史背景，强调理论和实践之间不可分割的联系，并提出重新评价作为潜在前提的唯物历史主义。所录每一篇文章共同完成了关于全球化艺术史和艺术全球化传播的当下研究与反思的概述，他们提供了一系列有关不同时期、地区以及对象的研究方法，探寻史学与方法论的相关问题并展示个人的研究成果。由詹姆斯·埃尔金斯撰写的后记对当前的全球化艺术史项目做出了评论。本书故意取开放式结尾，期望未来会有关于提出的议题的回应。
The project of global art history calls for balanced treatment of artifacts and a unified approach. This volume emphasizes questions of transcultural encounters and exchanges as circulations. It presents a strategy that highlights the processes and connections among cultures, and also responds to the dynamics at work in the current globalized art world. The editorsaTM introduction provides an account of the historical background to this approach to global art history, stresses the inseparable bond of theory and practice, and suggests a revaluation of materialist historicism as an underlying premise.Individual contributions to the book provide an overview of current reflection and research on issues of circulation in relation to global art history and the globalization of art past and present. They offer a variety of methods and approaches to the treatment of different periods, regions, and objects, surveying both questions of historiography and methodology and presenting individual case studies. An 'Afterword' by James Elkins gives a critique of the present project. The book thus deliberately leaves discussion open, inviting future responses to the large questions it poses.
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Is Art History Global?
编者:James Elkins
出版社:Routledge
出版年: 2007年
内容简介
此书展现了艺术史家和评论家之间关于学科内全球化思考的实践与责任的一次国际对话。主题有关政治、经济、哲学、语言学和个人。中国艺术是否应该用西方的方法论比如精神分析或解构主义来解读？使用“空间”和“时间”这样的词来形容非西方艺术是最佳的吗？历史学家是否应该使用不同文化中使用的语词？如果没有书本、幻灯片或艺术品，艺术史应该被如何讲述？艺术的西方叙事方式与在阿根廷、南非、印尼、或西藏的艺术史学生有何关联？
This work stages an international conversation among art historians and critics on the subject of the practice and responsibility of global thinking within the discipline.The topics are political, economic, philosophic, linguistic,and personal. Should Chinese art be discussed using Western methods such as psychoanalysis or deconstruction?Is it best to use words like “space“ and “time“ to describe non-Western art, or should historians try to employ the words used in different cultures?How is art history taught without books, slides, or artworks? What relevance does the Western narrative of art have for art history students in Argentina, South Africa, Indonesia, or Tibet?
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The Global Art World:Audiences,Markets and Museums
编者: Andrea Buddensieg and Hans Belting
出版社:Hatje Cantz Verlag
出版年: 2009年
内容简介
全球化艺术博物馆于2001年在德国卡尔斯鲁厄的ZKM艺术与媒体中心成立，由艺术史家汉斯·贝尔廷和艺术家、策展人、艺术理论家彼得·韦贝尔发起。过去20年，艺术的全球化极速增长，导致了不同地区有不同的艺术史研究方式，偏离了主流西方观点。GAM旨在分析艺术市场、博物馆以及艺术批评的变化。
自2006年以来，GAM举办了一系列的会议。来自世界各地的艺术专业人士批判考察了当代视觉艺术、全球化的影响、大众媒体和近几十年来广泛的技术发展。此书是2007年会议的文集。由多篇于2007年研讨会出席专家的论文组成，包括大英博物馆非洲部管理人克劳德·阿杜安、中非皇家博物馆主管科奇·克莱森斯以及新加坡当代艺术研究所主管陈维德等。
此书调查了全球艺术品生产到消费的过程和促进对主流艺术概念的再评价的范围。GAM项目的目的在于探寻艺术全球化对艺术博物馆、观众和艺术市场的影响。艺术市场，由来自世界各地的收藏家委托人支撑着，遵循着国际惯例。艺术博物馆，民族博物馆在当地结构下运营却容纳着来自不同文化的观众。
此书不仅阐述了全球化对博物馆的影响，而且展现了艺术专业人士关于“将博物馆作为论争场所”所提出的各种理论化策略。博物馆面临“走向全球化”的压力，这包括如何向当地观众展示当代艺术以及如何对艺术语言保持敏感。当今，西方体制的各种模式越来越难以应对全球化艺术的新语境，此书中的文章保持开放态度。
Global Art and the Museum (GAM), which was initiated in 2001 by German art historian Hans Belting and artist, writer and curator Peter Weibel at the ZKM Center for Art and Media in Karlsruhe, Germany. The last 20 years have seen a rapid globalization of the art world, resulting in geographic decentralization and a shift away from a primarily Western perspective. GAM's aim is to analyze the effect of these changes on the art market, museums and art criticism.
Through a series of conferences that have taken place since 2006, arts professionals from around the world critically examine contemporary visual production and the effects of globalization, mass media, and the wide-ranging technologies developed in recent decades. GAM’s most recent publication, “The Global Art World: Audiences, Markets, and Museums”, is the second volume of documents published by the project, resulting from conferences that took place in 2007. This volume comprises a collection of essays by experts--such as Claude Ardouin, Keeper of the African Section of London's British Museum, Koeki Claessens, Director of Royal Museum for Central Africa and Eugene Tan, Director of the Institute of Contemporary Arts Singapore--who presented at the 2007 conference.
The present volume investigates the process of global art production and art consumption and the extent to which it is prompting a critical revaluation of the notion of mainstream art. The project GAM with the aim to explore the impact of art's globalization on art museums, their audiences, and the art market. Whereas the art market, like its new clientele of collectors from many parts of the world, acts on a global scale, art museums, but also ethnographic museums, operate within a local framework where they encounter audiences from most diverse cultures and societies.
More than offering a critique of globalization’s effects on museums, the texts in The Global Art World reflect the diverse strategies devised and theorized by arts professionals as they consider the idea of the museum as a site of contestation. The pressure on museums to “go global” prompts questions about how to present contemporary art to local audiences and how to be sensitive to the construction of artistic discourses. As the models of Western institutions increasingly fall short in addressing the needs of the new global art contexts, the dialogue archived in this volume remains an open-ended one.
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Global Studies：Mapping Contemporary Art and Culture
编者: Hans Belting,Jacob Birken,Andrea Buddensieg
出版社: Hatje Cantz Verlag
出版年: 2011年
内容简介
此书为GAM项目的第三部书，分析全球化如何影响当代艺术产业。除了艺术家的个案研究，此书概括了不同地区艺术实践、展览和意识形态的历史。主题包括印尼艺术市场泡沫；奥地利纪录片制片人“十字路口”系列；津巴布韦过去十年的石头雕塑；阿里杰罗·波堤的阿富汗刺绣；中国美学对2008年北京奥运会开幕式的影响。
This is the third volume in Hans Belting and Peter Weibel's “Global Art and the Museum ”series, which analyzes how globalization affects the industry of contemporary art. Alongside case studies of individual artists, “Global Studies” outlines the histories of various regional art practices, exhibitions and ideologies. Among the topics covered are Indonesia's art market bubble; Austrian documentary filmmakers “Interdivs” series; Zimbabwean stone sculpture of the past decade; Alighiero Boetti's Afghan embroideries; the influence of Chinese aesthetics on the opening ceremony at the 2008 Beijing Olympic Games.
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Contemporary Art:World Currents
作者: Terry Smith
出版社:Pearson
出版年: 2011年
内容介绍
《当代艺术：世界潮流》一书是第一本针对从1980年代至今的当代艺术的全面世界化调查。
作者认为：近几十年来，从现代艺术到当代艺术的全球化转变已经发生。全球艺术家都已经接受当代世界的多样性，加剧的差异和具有挑战性的复杂性和新技术。本书精心挑选350余张彩色图片来首次阐述这些从历史起源至今的变化。通过对知名和不知名艺术家的研究，作者解释了为何当代艺术在1980年代在市场和地处艺术中心的博物馆起决定性力量，并在世界艺术开始紧密合作时成为一个全球现象。新的沟通技术和扩张中的社交媒体正在塑造艺术的未来。
《当代艺术：世界潮流》在研究现代、传统和本土艺术在各个民族文化中如何转变为当代艺术取得了新的进展，包括西方、东方、中部欧洲、北美和南美，以及加勒比地区、大洋洲地区、非洲和中东地区。Terry Smith为一种新的研究当代艺术的比较方式奠定了基础。这种研究方式强调当代生活各方面之间的联系。他认为，是文化多样性和个人艺术创造力，而非千篇一律，成就了艺术的当代性。本书主题紧扣当下，关注当代艺术家的同时也有助于读者洞察今日艺术之现状。
“Contemporary Art:World Currents” is the first comprehensive worldwide survey of contemporary art from the 1980s to the present day.
Author Terry Smith argues that, in recent decades, a global shift from modern to contemporary art has occurred: artists everywhere have embraced the contemporary world’s teeming multiplicity, its proliferating differences and its challenging complexities and new technologies. Alongside more than 350 carefully selected color images of key works, Terry Smith offers the first account of these changes, from their historical beginnings to the present day. Exploring key works by both well known and little-known artists, the author shows how contemporary art achieved definitive force in the markets and museums of the major art centres during the 1980s and then became a global phenomenon as artworlds everywhere began to connect more closely.New communicative technologies and expanding social media are now shaping the future of art.
“Contemporary Art: World Currents” breaks new ground in tracing how modern, traditional and indigenous art became contemporary in each cultural region of the world, ranging across Western, East and Central Europe, North and South America and the Caribbean, Oceania, Africa, and the Middle East. Terry Smith lays the groundwork for a new comparative approach to contemporary art, emphasizing its relationships to all aspects of contemporary life. He argues that it is cultural diversity and individual artistic inventiveness, not a convergence towards sameness, which makes today's art contemporary.It brings the subject right up-to-date,highlighting the concerns of contemporary artists while giving the reader an invaluable insight to art today.
