ABSTRACT
The chapter title, Globalization and the Art World, needs to be unpacked. The art world is based on a core-periphery orientation with social networks that bind key players. Artist and critic Martha Rosler (1997: 20-21, n. 1), writing in Art Bulletin on money, power, and contemporary, offers a ‘thumbnail definition’ of the ‘high art world’ as
the changing international group of commercial and nonprofit galleries, museums, study centers, and associated venues and individuals who own, run, direct, and toil in them; the critics, reviewers, and historians, and their publications who supply the studies, rationales, publicity, and explanations; the connoisseurs and collectors who form the nucleus of sales and appreciation; plus the artists living and recently dead who supply the goods (emphasis in the original).
