THE BUDDHA GOES GLOBAL: SOME THOUGHTS TOWARDS A TRANSNATIONAL ART HISTORY
Version of Record online: 6 DEC 2006
Volume 29, Issue 4, pages 698–720, September 2006
How to Cite
HARRIS, C. (2006), THE BUDDHA GOES GLOBAL: SOME THOUGHTS TOWARDS A TRANSNATIONAL ART HISTORY. Art History, 29: 698–720. doi: 10.1111/j.1467-8365.2006.00520.x
- Issue online: 6 DEC 2006
- Version of Record online: 6 DEC 2006
At the start of the twenty-first century artists and art works are increasingly mobile and dispersed within global networks and cultural flows. This essay considers the career of an artist (Gonkar Gyatso) who has travelled from his homeland (in Tibet) via a key centre for Tibetan exiles (in India) to his current location in London (where he successfully sought asylum). In each of these physical domains he and his work have been reconfigured, inspiring new ways of depicting the land he vacated: Tibet. A new type of analysis is required in order to chart such transnational dimensions in contemporary art, one which acknowledges that artists are subject to influences well beyond the places they physically inhabit and which gives due prominence to imaginative territories. However, this case study also notes the persistence of ‘location’ as a determining factor in interpretation and reception.