Global Art in Local Art Worlds

Oscar Salemink is Professor of Anthropology at the University of Copenhagen, Denmark. Amélia Siegel Corrêa is an independent curator, researcher and a Lecturer in Art History at the Pontificia Universidade Catolica do Parana, Brazil. Jens Sejrup is Assistant Professor of Japanese Studies at the University of Copenhagen, Denmark with a joint appointment in the Departments of Anthropology and Cross-cultural and Regional Studies. Vibe Nielsen is affiliated as postdoctoral researcher at the Pitt Rivers Museum, University of Oxford, UK, where she is a Junior Research Fellow at Linacre College.

Introduction: Global Art in Local Art Worlds and the Global Hierarchy of Value-Oscar Salemink; Reflection 1: Going Beyond, notes on cultural valuations and spatial difference-Hou Hanru; Part 1: Tropicalism and canonization; 1 Inhotim, an international tropical museum: Distinction and the canonization of Brazilian Avant-Gardes-Amélia Siegel Corrêa; Reflection 2: The tropics as convention and consecration; Lilia Moritz Schwarcz; Reflection 3: Is there a Global Cannon? Reflections on World Art History-Nora A. Taylor; Part 2: recognition and ambivalence; 2 Ambivalent Art at the Tip of a Continent: the Zeitz MOCAA and its Quest for Global Recognition-Vibe Nielsen; Reflection 4: Recognition-Michael Rowlands; Reflection 5: Ambivalence and the racial politics of value-Deborah Posel; Part 3: Global circulation of ideas and universality; 3 A local universal modernity: World-Heritagizing Le Corbusier’s building for the National Museum of Western Art in Tokyo-Jens Sejrup; Reflection 6: The role of public statuary in the global circulation of ideas-Sven Saaler; Reflection 7: Provincializing the universal-Peter Pels; Part 4: Curation and authorization; 4 Curatorship and authorization in Chinese contemporary art institutions-Oscar Salemink; Reflection 8: Curation-Pi Li; Reflection 9: Authorization-Parul Dave Mukherji; Part 5: Validation and circuits of valuation; 5 From Mumbai to London: Co-constituting value in art from India via local and global circuits of valuation-Olga Kanzaki Sooudi; Reflection 10: Validation and the global hierarchy of value: moving in a rugged landscape-João Rickli; Reflection 11: A mandala of value: A granular approach to art valuation across geopolitical fragments-Manuela Ciotti; Part 6: Indigenous art and Indigenous cultural capital; 6: Re-collecting, Re-classifying, Re-ordering: Indigenous Art and the Contemporary Australian Art Field-Tony Bennett; Reflection 12: Indigenous protagonism and its impact on the Brazilian art system-Ilana Seltzer Goldstein; Reflection 13: Indigenous Art: Decolonization through the Looking Glass-Ruth B. Phillips; Afterword: Agency and Hierarchy in the Creation of Aesthetic Value-Michael Herzfeld