NY is completely not the art world. One of my classmates (who went to the Sharjah biennial this year) has a Xerox of some "top 100 artists in the world as chosen by 100 critics" and maybe 15 of them are american.
The Whitney Biennial isn't really considered a true biennial in the art world because it's not international, and is generally not considered to be that innovative (according to my prof. who taught my Globalism and Art class this past semester -- I asked the same question, having done my master's at Yale where they will have you think that they and the NY art market that they supply constitute the entire art world.)
I didn't know much either before I took this class -- I was so glad that I got reoriented after 7 years of having NY glasses on. There is also a very new Johannesburg biennale that actually is considered a real biennale -- probably too new to be on that map.
If you want to learn more and have an interest in Africa's role in this, Okwui Enwezor, who curated Documenta XI (renown for its attention to the global and political dimensions of art) -- who is African by birth but kind of global by schooling, etc, might be someone worth checking out if you aren't already familiar with him. I know that in addition to Documenta, he has curated a number of contemporary African art shows (NOT wood carving stuff)...might lead you to interesting artists.
Here is an article by him from the Documenta catalog that I have on hand...more about globalization, less about art, but, eh, I have it, I figured I'd share it.
otoh, i would also say that regardless of where a biennale is held, these days they are more representative of a global nomadic culture than something local. I.e. the effects of the Shanghai biennale are perhaps more profound in Chelsea than in Beijing.
Interesting fact that I recently learned though: second oldest biennale (after Venice, from 1895)? Sao Paolo, 1952. Weird huh? Totally backed by Rockefeller and supported by MoMA though.
I traveled a bit in Botswana and S Africa when my brother was living there a few years ago. There was such amazing design and art there-- seemingly not that much of a divide between community/crafty projects and high arts, too, which was sort of interesting. Similarly I like how on that site you link to, many of the artists' work wouldn't necessarily stand out as "African" but also some of them would-- maybe there is not an imperative to have a certain aesthetic, but also not a backlash against it.
Yeah I like the diversity of work. I am slowly trying to lower my hostility towards wood carvings, I even have some at my house. I just don't want them to be the ONLY thing that comes to mind when people think of African artists.
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The Whitney Biennial isn't really considered a true biennial in the art world because it's not international, and is generally not considered to be that innovative (according to my prof. who taught my Globalism and Art class this past semester -- I asked the same question, having done my master's at Yale where they will have you think that they and the NY art market that they supply constitute the entire art world.)
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I'm trying to learn more.
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If you want to learn more and have an interest in Africa's role in this, Okwui Enwezor, who curated Documenta XI (renown for its attention to the global and political dimensions of art) -- who is African by birth but kind of global by schooling, etc, might be someone worth checking out if you aren't already familiar with him. I know that in addition to Documenta, he has curated a number of contemporary African art shows (NOT wood carving stuff)...might lead you to interesting artists.
Here is an article by him from the Documenta catalog that I have on hand...more about globalization, less about art, but, eh, I have it, I figured I'd share it.
Reply
Interesting fact that I recently learned though: second oldest biennale (after Venice, from 1895)? Sao Paolo, 1952. Weird huh? Totally backed by Rockefeller and supported by MoMA though.
Reply
I traveled a bit in Botswana and S Africa when my brother was living there a few years ago. There was such amazing design and art there-- seemingly not that much of a divide between community/crafty projects and high arts, too, which was sort of interesting. Similarly I like how on that site you link to, many of the artists' work wouldn't necessarily stand out as "African" but also some of them would-- maybe there is not an imperative to have a certain aesthetic, but also not a backlash against it.
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one day when i have a home, i would like to put pieces like the ones shown in it.
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