The Globalization of Advanced Art in the Twentieth Century / David Galenson.

By:

Galenson, David

Contributor(s):

National Bureau of Economic Research

Material type: Text

TextSeries: Working Paper Series (National Bureau of Economic Research) ; no. w14005.Publication details: Cambridge, Mass. National Bureau of Economic Research 2008.Description: 1 online resource: illustrations (black and white)Subject(s):

J00 - General

Online resources:

Available additional physical forms:

Hardcopy version available to institutional subscribers

Abstract: The twentieth century was a time of rapid globalization for advanced art. Artists from a larger number of countries made important contributions than in earlier periods, and they did so in a larger number of places. Many important innovations also diffused more rapidly, and more widely, than in earlier times. The dominance for much of the century of conceptual forms of art, from Cubism and Dada to Pop and Conceptual Art, was largely responsible for the greater speed with which innovations spread: conceptual techniques are communicated more readily, and are generally more versatile in their uses, than experimental methods. There is no longer a single dominant place in the art world, comparable to Paris for the first century of modern art, but it is unlikely that a large number of places will join New York and London as centers of artistic innovation in the future.

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Item type	Home library	Collection	Call number	Status	Date due	Barcode	Item holds
Working Paper	Biblioteca Digital	Colección NBER	nber w14005 (Browse shelf(Opens below))	Not For Loan

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May 2008.

The twentieth century was a time of rapid globalization for advanced art. Artists from a larger number of countries made important contributions than in earlier periods, and they did so in a larger number of places. Many important innovations also diffused more rapidly, and more widely, than in earlier times. The dominance for much of the century of conceptual forms of art, from Cubism and Dada to Pop and Conceptual Art, was largely responsible for the greater speed with which innovations spread: conceptual techniques are communicated more readily, and are generally more versatile in their uses, than experimental methods. There is no longer a single dominant place in the art world, comparable to Paris for the first century of modern art, but it is unlikely that a large number of places will join New York and London as centers of artistic innovation in the future.