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<p>List of Illustrations ix</p> <p>Acknowledgements xi</p> <p>Introduction: The World in a Work of Art 1</p> <p>Global Order, Social Order, Visual Order 2</p> <p>‘Globalization’ and ‘Globalism’ in Th eory and Practice 10</p> <p>Capitalism and Communism as (Failed) Utopian Totalities 16</p> <p>Ideal and Real Collectivities 23</p> <p><b>1 Spectacle, Social Transformation and Utopian Globalist Art 34</b></p> <p>Spectacular Cold War Communisms and Capitalisms 35</p> <p>Alienation/Separation and State Power 44</p> <p>System, Totality, Representation and the ‘Utopian Imaginary’ 51</p> <p>The ‘Conquest of Space’, Spectacular Art and Globalist Vision 57</p> <p><b>2 The Line of Liberation: Tatlin’s Tower and the Communist Construction of Global Revolution 76</b></p> <p>Revolutionary Rupture, Structure and Sense 77</p> <p>Space and Symbolism 85</p> <p>Beyond Order 95</p> <p>Collectivity and Necessity 103</p> <p><b>3 Picasso for the Proletariat: ‘The Most Famous Communist in the World ’118</b></p> <p>Commitment to the Cause, Right or Wrong 119</p> <p>Picasso as Screen 129</p> <p>Image, Persona, Mediations 139</p> <p>Picasso ’ s Use and Exchange Value 147</p> <p><b>4 Some Kind of Druid Dude: Joseph Beuys’s Liturgies of Freedom 165</b></p> <p>Tatlin for the Television Generation 166</p> <p>The Beuysian Spectacular Persona 171</p> <p>The Spirit of the Earth 179</p> <p>Process, Performance, Metabolic Transformation 185</p> <p>Political Actions 191</p> <p><b>5 ‘Bed-in’ as Gesamtkunstwerk: A Typical Morning in the Quest for World Peace 211</b></p> <p>Sugar, Sugar 212</p> <p>A Sequestered Zone of Peace 217</p> <p>Just My Imagination 225</p> <p>A Man from Liverpool and a Woman from Tokyo 229</p> <p><b>6 Mother Nature on the Run: Austerity Globalist Depletions in the 1970s 246</b></p> <p>Transmission, Replacement, Negation, Deletion 247</p> <p>West/East–North/South 253</p> <p>Banality as Tactic 260</p> <p>Austerity Globalism's Body-Politic 265</p> <p>‘Development’ Exposed 272</p> <p><b>7 Nomadic Globalism: Scenographica in Christo and Jeanne-Claude’s Wrapped Reichstag 287</b></p> <p>The Negation Negated 288</p> <p>Art, Business, Diplomacy 292</p> <p>The Materials of Spectacle 296</p> <p>Form as Sedimented Content 299</p> <p>Seductive Acts of Occlusion 306</p> <p>Conclusion: From the Spiral to the Turbine: A Global Warning 316</p> <p>Large Rooms Full of Wonderful Curiosities 317</p> <p>The Void of Possibilities 320</p> <p>Disappeared 323</p> <p>Index 333</p>

<p>“Though theoretically sophisticated, this volume is accessible and engaging.  Summing Up:  Recommended.  Upper-level undergraduates through professionals/practitioners.”  (<i>Choice</i>, 1 September 2013)</p>

<p><b>Jonathan Harris</b> is Professor in Global Art and Design Studies at Winchester School of Art, University of Southampton, UK. His work has consistently explored questions of state power, culture, art, ideology and social order, particularly in Europe and America over the past century. His <i>The New Art History: A Critical Introduction</i> (2001) remains a classic text, and he has published 17 books as editor, author and co-author, including <i>Globalization and Contemporary Art</i> (Wiley-Blackwell, 2011). </p>

<p><b>“Crossing continents, historical periods and cultural genres, Jonathan Harris skilfully traces the evolution of utopian ideals from early modernism to the spectacularised and biennialised (or banalised as some would say) contemporary art world of today.”</b></p> <p>Michael Asbury, <i>University of the Arts, London</i> <p><i>The Utopian Globalists</i> is the second in a trilogy of books by Jonathan Harris examining the contours, forces, materials and meanings of the global art world, along with its contexts of emergence since the early twentieth century. The first of the three studies, <i>Globalization and Contemporary Art</i> (Wiley-Blackwell, 2011), anatomized the global art system through an extensive anthology of over 30 essays contextualized through multiple thematic introductions. The final book in the series, <i>Contemporary Art in a Globalized World</i> (forthcoming, Wiley-Blackwell), combines the historical and contemporary perspectives of the first and second books in an account focused on the ‘mediatizations’ shaping and representing contemporary art and its circuits of global production, dissemination and consumption. <p>This innovative and revealing history examines artists whose work embodies notions of revolution and human social transformation. The clearly structured historical narrative takes the reader on a cultural odyssey that begins with Vladimir Tatlin’s constructivist model for a ‘Monument to the Third International’ (1919), a statement of utopian globalist intent, via Picasso’s 1940s commitment to Soviet communism and John and Yoko’s Montreal ‘Bedin’, to what the author calls the ‘late globalism’ of the Unilever Series at London’s Tate Modern. <p>The book maps the ways artists and their work engaged with, and offered commentary on, modern spectacle in both capitalist and socialist modernism, throughout the eras of the Russian Revolution, the Cold War and the increasingly globalized world of the past 20 years. In doing so, Harris explores the idea that the utopian -globalist lineage in art remains torn between its yearning for freedom and a deepening identification with spectacle as a media commodity to be traded and consumed.

“Crossing continents, historical periods and cultural genres, Jonathan Harris skillfully traces the evolution of utopian ideals from early modernism to the spectacularised and biennialised (or banalised as some would say) contemporary art world of today.”<br /> - <i>Michael Asbury, University of the Arts, London</i>

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