Bøger i Objects/Histories serien

In the early twentieth century, a group of elite Eastern-coast women turned to the American Southwest in search of an alternative to European-derived concepts of culture. This book provides a narrative of the growing influence that this network of women had on the Native American art market to investigate the social construction of value.

Prompting a reevaluation of canonical understandings of twentieth century art history, Mapping Modernisms provides an analysis of how indigenous artists and art from Africa, Oceania, and the Americas became recognized as modern.

Combining visual culture and postcolonial studies, this reader shows that an appreciation of the role of visual experience is necessary for understanding how colonialism worked and how colonized subjects spoke to imperial rulers.

In Remote Avant-Garde Jennifer Loureide Biddle interrogates the avant-garde art of Aboriginal communities in the Australian desert, showing how it is an act of survival in the face of state occupation and a means to revive at-risk vernacular languages and cultural heritages.

Combining visual culture and postcolonial studies, this reader shows that an appreciation of the role of visual experience is necessary for understanding how colonialism worked and how colonized subjects spoke to imperial rulers.

A look at how prominent Indian visual artists created modern art for the postcolonial nation in the years between India's independence in 1947 and 1980.

A beautifully illustrated look at the aesthetics and implications of the visual images used to sell Jamaica and the Bahamas to tourists as "tropical paradises" from the 1880s through the 1930s.

The photographs of Aborgines taken at Coranderrk Station were circulated across the western world and were mounted in exhibition displays and classified among other ethnographic "data" within museum collections. This book reveals how western society came to understand Aboriginal people through these images.

Suitable for those interested in art history, theories of gender, and postcolonial studies, this book contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions.

The indigenous peoples of the Pacific nations of Vanuatu and New Zealand are reconfiguring global cultural and intellectual property regimes as they successfully advance claims to ancestral practices such as ephemeral sand drawings.

A generously illustrated ethnography arguing that popular photographic practices have played a crucial role in the making of modern national subjects in postcolonial Java.

An historical examination of the early-twentieth-century Indian Craze, a widespread interest in Native American art, that explores its importance for Native Americans, Euro Americans, and the history of modernism.

Presents a pioneering exploration of Asian American visual art. This title focuses on works produced during the watershed 1990s, when surging Asian immigration had significantly altered the demographic, cultural, and political contours of Asian America, and a renaissance in Asian American art and visual culture was well underway.

Moving the critical debate about photography away from its Euro-American center of gravity, this title breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals.

Scholars of Asia, most of whom are anthropologists, examine the transformations precipitated or accelerated by the spread of photography across East and Southeast Asia.

Prompting a reevaluation of canonical understandings of twentieth century art history, Mapping Modernisms provides an analysis of how indigenous artists and art from Africa, Oceania, and the Americas became recognized as modern.

Natasha Eaton theorizes the relationship between art and empire through analysis of the interconnected visual cultures of British and Mughal empires in eighteenth- and nineteenth-century India.

An examination of visual art in post-independence Senegal. It explores the complex interplay of cultural nationalism, negotiations of postcolonial identity, and an emergent artistic modernism. Highlighting the distinctive cultural history that shaped Sengalese modernism, it reveals its innovations, diversity, and dynamism.