A01=Paloma Checa-Gismero
Abraham Cruzvillegas
Age Group_Uncategorized
Age Group_Uncategorized
Allen Sedula
Andrea Fraser
anti-colonial curating
art biennials
art globalization
artistic community
artistic hegemony
Author_Paloma Checa-Gismero
automatic-update
BAD Foundation
Bienal de La Habana
biennial boom
Border art
Border Art WorkshopTaller de arte fronterizo
Category1=Non-Fiction
Category=AC
Category=AGA
Category=GLZ
Category=GM
Central European art
Chicano art
Cold War
collaborative labor
contemporary art production
COP=United States
Craft
Cuban art
cultural tourism
David Jursit
Delivery_Delivery within 10-20 working days
dialogical aesthetics
early boom biennials
Eastern European art
economic globalization
Eduardo Abaroa
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
European cultural policy
European integration
Europeanness
Felipe Ehrenberg
Francis Als
freelance curator
frontera norte
global art industry
global contemporary art
global exhibitionary complex
globalization
Gregory Sholette
Helen Escobedo
indigenismo
inSITE
Janet Koenig
Julio Leparc
kinetic art
Language_English
Louis Hock
Manifesta
Marcos Ramirez ERRE
Melanie Smith
NEstWORK
non-orthodox Marxism
North Atlantic art worlds
PA=Available
popular art
postrevolutionary Cuba
Price_€20 to €50
production aesthetics
PS=Active
relational art
Rotterdam
Ruben Ortiz Torres
San Diego
Silvia Gruner
site-oriented art practice
Sofia Taboas
softlaunch
Terry Allen
Third World avant-garde
Thomas Glassford
Treaty of Maastricht
urban renewal
US Mexico borderlands
USMexico borderlands
Product details
- ISBN 9781478030515
- Weight: 567g
- Dimensions: 152 x 229mm
- Publication Date: 06 Aug 2024
- Publisher: Duke University Press
- Publication City/Country: US
- Product Form: Paperback
- Language: English
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In Biennial Boom, Paloma Checa-Gismero traces an archeology of contemporary art biennials to uncover the processes that prompted these exhibitions to become the global art world’s defining events at the end of the twentieth century. Returning to the early post-Cold War years, Checa-Gismero examines the early iterations of three well-known biennials at the borders of North Atlantic liberalism: the Bienal de La Habana, inSITE, and Manifesta. She draws on archival and oral history fieldwork in Cuba, Mexico, the US/Mexico borderlands, and the Netherlands, showing how these biennials reflected a post-Cold War optimism for a pacified world by which artistic and knowledge production would help mend social, political, and cultural divisions. Checa-Gismero argues that, in reflecting this optimism, biennials facilitated the conversion of subaltern aesthetic genealogies into forms that were legible to a nascent cosmopolitan global elite-all under the pretense of cultural exchange. By outlining how early biennials set the basis for what is now recognized as “global contemporary art,” Checa-Gismero intervenes in previous accounts of the contemporary art world in order to better understand how it became the exclusionary, rarified institution of today.
Paloma Checa-Gismero is Assistant Professor of Art History at Swarthmore College.
