| dc.description.abstract | The globalization of contemporary art is a relatively new phenomenon, dating from the 1990s coupled with the globalization of financial markets and political systems. There was increased attention to artists from outside of the dominant Euro-American sphere, especially China. Both the free travel movements of artists, curators and consumers and increased presentation possibilities through the proliferation of art biennials, art publications and criticism – also though electronic media - contributed to this so-called globalization. Globalization has entered the lexicon of the art world like the terms modernism and renaissance before it. Its importance as a critical discourse cannot be underestimated especially in emerging geographical areas which were largely previously ignored.
Art globalization has a variety of possible definitions and interpretative models including post-colonial theory; art history and the canon; and, the art market. This thesis has analyzed the production and presentation of art works in the Gulf region using an eco-system art world model, conceived on the philosophy of Arthur Danto, supported by the sociological theory of Pierre Bourdieu, as well as the notion of the radicant as postulated by Michiel Bourriaud to answer the research question: To what extent is the Arabian Peninsula contemporary art world part of the globalizing art world in terms of its production, presentation and reception?. Within a historical framework of the Middle East, the focus was on contemporary art produced in the last 30 years but an examination of the place of modern art was necessary to understand the differences between Islamic art, Arabic modern art and contemporary Arabic art.
Through combining published research, examining primary works of art, fieldwork, interviews and data analysis, the forces of the Arabic art world have been deconstructed and evaluated. It can be concluded that the Gulf region is a relatively small but significant part of the global art world with a great potential for further development. Geo-political circumstances and infrastructure do play a large role in the phenomenon of art globalization in the Middle East. These geo-political factors include rapid modernization based on an oil economy and subsequent wealth; a preponderance of tradition partially based on Islam and its religious prescripts; and a conservative culture closely aligned with government policies. A cautionary note with respect to censorship and self-censorship is in order.
Whilst globalization became a worldwide economic phenomenon in the early 1990, the art world globalization in the Gulf began to develop only 20 years later in phases. The Gulf States entered then into what might be termed their first wave of globalization in the UAE around 2006 , followed by a second wave in 2010-2011 in Qatar and the possibility of a third wave in Saudi Arabia with increasing international exposure.
The notion of the radicant - those plants with multiple roots advancing in all directions instead of dependence on a single deep root for their growth – serves as a useful metaphor for the art world system in the Gulf. It proved not to be a linear system, smoothly progressing from one node to another towards entry into the canon, as has been postulated in other art world models. One of the main factors for this is the Internet platform in all its social media variants, a distinguishing feature from pre-globalized art world(s). All the nodes of the art world system are required for globalization with perhaps participation in the biennial model being the most important dominant factor, being more flexible than the museum institutions in funding and programming. The roles of the museum, biennials, galleries and art fairs, although complementary and informing each other, are converging in many respects. The Gulf region patrons both institutionally and privately possess strong motivations for supporting the arts of the region internationally with some notable champions both inside and outside the region. In addition to nation building and desire to enter into the global cultural world, the promotion of the region as a tourist destination through global art museums is a strong motivator. Several artists and artworks have been examined including Hassan Sharif (UAE, 1951-2016); Ahmed Mater (Saudi Arabia, 1979), and Monira Al Qadiri (Kuwait, 1983) and the GCC, an artist collective. These artists were chosen as representative of global art producers of the region, illustrating different aspects of the global art system and importantly living and working by and large in their regions of origin, rather than being classified as hybrid artists who immigrated to Western art centers such as New York or Berlin. (Unfortunately Hassan Sharif passed away during the period of my research.) If possible to group them at all, they could be classified as “glocal players”, prominent in the global art world but employing local themes such as religion, oil and pearls and with local concerns of rapid industrialization, bureaucracy and consumerism in the region. The traditional materials and techniques of calligraphy and weaving are present whilst employing new innovative techniques and materials such as found objects, x-ray collages, 3d printing and provocative exhibition decors. The artists comment critically upon some aspects of society, whilst celebrating their local roots and environment in an aesthetic manner. | |
