The Promise of Cosmopolitanism: Contemporary Art, Ethics and Imagination in a Global World

The Promise of Cosmopolitanism: Contemporary Art, Ethics and Imagination in a Global World Contemporary Art and the Cosmopolitan Imagination by Marsha Meskimmon , London and New York : Routledge , 2010 , 132 pp. , 16 col. and 15 b. & w. illus., £65.00 hdbk, £20.99 pbk Marsha Meskimmon’s elegantly written and carefully argued book is born out of her long‐standing commitment to exploring the intertwining of subjects, spaces, objects, and ideas, especially in connection with women making art. In particular, two observations shape this most recent study of hers. Firstly, she argues that materials, images, and spaces associated with the domestic have emerged as dominant motifs in international contemporary art, but considerations of the latter through the lens of the work of feminist scholars and artists on the domestic remain largely obscured. Secondly, she maintains that contemporary artworks invoking the domestic are not necessarily concerned with bounded notions of home or the local, but with broader flows and exchanges characteristic of globalization. Her fascination both with questions of how sexual subjectivity can remain unmarked in artworks evoking the domestic and with those of how artworks can engender the condition of being at home in an all‐too‐marked global world gives rise to the central concern of her book: how might art http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Art History Wiley

The Promise of Cosmopolitanism: Contemporary Art, Ethics and Imagination in a Global World

Art History, Volume 35 (1) – Feb 1, 2012

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Publisher
Wiley
Copyright
© Association of Art Historians 2012
ISSN
0141-6790
eISSN
1467-8365
D.O.I.
10.1111/j.1467-8365.2011.00880.x
Publisher site
See Article on Publisher Site

Abstract

Contemporary Art and the Cosmopolitan Imagination by Marsha Meskimmon , London and New York : Routledge , 2010 , 132 pp. , 16 col. and 15 b. & w. illus., £65.00 hdbk, £20.99 pbk Marsha Meskimmon’s elegantly written and carefully argued book is born out of her long‐standing commitment to exploring the intertwining of subjects, spaces, objects, and ideas, especially in connection with women making art. In particular, two observations shape this most recent study of hers. Firstly, she argues that materials, images, and spaces associated with the domestic have emerged as dominant motifs in international contemporary art, but considerations of the latter through the lens of the work of feminist scholars and artists on the domestic remain largely obscured. Secondly, she maintains that contemporary artworks invoking the domestic are not necessarily concerned with bounded notions of home or the local, but with broader flows and exchanges characteristic of globalization. Her fascination both with questions of how sexual subjectivity can remain unmarked in artworks evoking the domestic and with those of how artworks can engender the condition of being at home in an all‐too‐marked global world gives rise to the central concern of her book: how might art

Journal

Art HistoryWiley

Published: Feb 1, 2012

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