Once seen as a collection of artifacts and ritual objects, African art now commands respect from museums and collectors. Bennetta Jules-Rosette and J.R. Osborn explore the reframing of African art through case studies of museums and galleries in the United States, Europe, and Africa. The authors take a three-pronged approach. Part One ranges from curiosity cabinets to virtual websites to offer a history of ethnographic and art museums and look at their organization and methods of reaching out to the public. In the second part, the authors examine museums as ecosystems and communities within communities, and they use semiotic methods to analyze images, signs, and symbols drawn from the experiences of curators and artists. The third part introduces innovative strategies for displaying, disseminating, and reclaiming African art. The authors also propose how to reinterpret the art inside and outside the museum and show ways of remixing the results. Drawing on extensive conversations with curators, collectors, and artists, African Art Reframed is an essential guide to building new exchanges and connections in the dynamic worlds of African and global art.

In The Politics of Taste Ana Maria Reyes examines the works of Colombian artist Beatriz Gonzalez and Argentine-born art critic, Marta Traba, who championed Gonzalez's art during Colombia's National Front coalition government (1958-74). During this critical period in Latin American art, artistic practice, art criticism, and institutional objectives came into strenuous yet productive tension. While Gonzalez's triumphant debut excited critics who wanted to cast Colombian art as modern, sophisticated, and universal, her turn to urban lowbrow culture proved deeply unsettling. Traba praised Gonzalez's cursi (tacky) recycling aesthetic as daringly subversive and her strategic localism as resistant to U.S. cultural imperialism. Reyes reads Gonzalez's and Traba's complex visual and textual production and their intertwined careers against Cold War modernization programs that were deeply embedded in the elite's fear of the masses and designed to avert Cuban-inspired revolution. In so doing, Reyes provides fresh insights into Colombia's social anxieties and frustrations while highlighting how interrogations of taste became vital expressions of the growing discontent with the Colombian state.

Monika Kopplin highlights the extraordinary variety of decorative techniques as well as the many stylistic features. The history and art history of Russia are reflected in the small format of the lacquer miniatures, painting a lively picture of the various eras. A comprehensive index of seals expands the catalogue into a reference book. Russian lacquer art can be traced back to Peter the Great, who had come to know this flourishing art and craft during his study trips in Western Europe. The first important work in this genre in the tsar's empire was completed in 1722 in the form of the Lacquer Study in his palace of Monplaisir. A second significant event followed when the Korobov workshop, which was modelled on the Braunschweig-based Stobwasser workshop, was established in 1793 near Moscow. It is better known by the name of a later owner, Lukutin. A technical and artistic alignment with the German model was followed by an increasingly independent Russian development from the 1820s onwards. At first this found expression in specific decorative techniques, and later also in specifically Russian motifs.

From the signing of the Treaty of Waitangi between Indigenous and settler cultures to the emergence of the first-ever state-funded Māori television network, New Zealand has been a hotbed of Indigenous concerns. Given its history of colonization, coping with biculturalism is central to New Zealand life. Much of this "bicultural drama" plays out in the media and is molded by an anxiety surrounding the ongoing struggle over citizenship rights that is seated within the politics of recognition. "The Fourth Eye" brings together Indigenous and non-Indigenous scholars to provide a critical and comprehensive account of the intricate and complex relationship between the media and Māori culture.

Examining the Indigenous mediascape, "The Fourth Eye" shows how Māori filmmakers, actors, and media producers have depicted conflicts over citizenship rights and negotiated the representation of Indigenous people. From nineteenth-century Māori-language newspapers to contemporary Māori film and television, the contributors explore a variety of media forms including magazine cover stories, print advertisements, commercial images, and current Māori-language newspapers to illustrate the construction, expression, and production of indigeneity through media.

Focusing on New Zealand as a case study, the authors address the broader question: what is Indigenous media? While engaging with distinct themes such as the misrepresentation of Māori people in the media, access of Indigenous communities to media technologies, and the use of media for activism, the essays in this much-needed new collection articulate an Indigenous media landscape that converses with issues that reach far beyond New Zealand.

Contributors: Sue Abel, U of Auckland; Joost de Bruin, Victoria U of Wellington; Suzanne Duncan, U of Otago; Kevin Fisher, U of Otago; Allen Meek, Massey U; Lachy Paterson, U of Otago; Chris Prentice, U of Otago; Jay Scherer, U of Alberta; Jo Smith, Victoria U of Wellington; April Strickland; Stephen Turner, U of Auckland.

Rigorously inventive and revelatory in its adventurousness, 1650-1850 opens a forum for the discussion, investigation, and analysis of the full range of long-eighteenth-century writing, thinking, and artistry. Combining fresh considerations of prominent authors and artists with searches for overlooked or offbeat elements of the Enlightenment legacy, 1650-1850 delivers a comprehensive but richly detailed rendering of the first days, the first principles, and the first efforts of modern culture. Its pages open to the works of all nations and language traditions, providing a truly global picture of a period that routinely shattered boundaries. Volume 27 of this long-running journal is no exception to this tradition of focused inclusivity. Readers will travel through a blockbuster special feature on the topic of worldmaking and other worlds-on the Enlightenment zest for the discovery, charting, imagining, and evaluating of new worlds, envisioned worlds, utopian worlds, and worlds of the future. Essays in this enthusiastically extraterritorial offering escort readers through the science-fictional worlds of Lady Cavendish, around European gardens, over the high seas, across the American frontiers, into forests and exotic ecosystems, and, in sum, into the unlimited expanses of the Enlightenment mind. Further enlivening the volume is a cavalcade of full-length book reviews evaluating the latest in eighteenth-century scholarship.

This engaging publication explores the artistic practices that employ evocation-the calling forth of past emotions, desires, frustrations, and memories into the present-as a mode of connecting past and present. Featuring the work of emerging artists working in a variety of media, including Ronnie Bass, Kajsa Dahlberg, Tellervo Kalleinen and Oliver Kochta-Kalleinen, Fikret Atay, Katerina Seda, Maryam Jafri, and Johanna Billing, as well as films by Keren Cytter, Kevin Willmott, and Jennifer Phang, the book challenges the conventional approach to history whereby the past is kept at a distance as historical fact. Ranging from playful to haunting, the artworks presented here rupture conventional notions of time to alter the dynamic of the present moment and enhance the possibilities for radical change on both a personal and sociopolitical scale. Distributed for the Whitney Museum of American Art Exhibition Schedule: The Kitchen, New York (opens 5/22/09)

American art history is a remarkably young, but rapidly growing, discipline. Membership in the Association of Historians of American Art, founded in 1979, now totals nearly 600. As a result of this growth, geographical and cultural borders no longer contain the field. American art history has become “internationalized,” represented by scholars and exhibitions around the globe. While this international transmission and exchange of ideas will certainly prove to be valuable, it has been left largely unexamined. Internationalizing the History of American Art begins a critical examination of this exchange, showing how it has become part of the maturation of American art history. In this volume, a distinguished group of scholars considers the shaping and dissemination of the history of American art domestically and internationally, past and present, theoretically and practically, from a variety of intellectual positions and experiences. To do so, they draw on a literature that, collectively, constitutes a bibliography for the future of the field. Three sections—“American Art and Art History,” “Display and Exposition,” and “Post-1945 Investments”—provide the structure in which the contributors examine the existing narrative framework for the history of American art. This examination indicates a direction for the field and a future historiography that is shaped by international dialogue.

The Caribbean has been traditionally associated with externally devised mappings and categories, thus appearing as a passive entity to be consumed and categorized. Challenging these forces and representations, Carlos Garrido Castellano argues that something more must be added to the discussion in order to address contemporary Caribbean visual creativity. Beyond Representation in Contemporary Caribbean Art arises from several years of field research and curatorial activity in museums, universities, and cultural institutions of Jamaica, Trinidad, Martinique, Guadeloupe, Cuba, Dominican Republic, Puerto Rico, and the United States. This book explores the ways in which Caribbean individuals and communities have recurred to art and visual creativity to create and sustain public spaces of discussion and social interaction. The book analyzes contemporary Caribbean art in relation to broader discussions of citizenship, cultural agency, critical geography, migration, and social justice. Covering a broad range of artistic projects, including curatorial practice, socially engaged art, institutional politics, public art, and performance, this book is about the imaginative ways in which Caribbean subjects and communities rearrange the sociocultural framework(s) they inhabit and share.

In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of independent community art centers to the work of the AFRICOBRA collective and Black filmmakers, artists on Chicago's South and West Sides built a vision of art as service to the people. In Art for People's Sake Rebecca Zorach traces the little-told story of the visual arts of the Black Arts Movement in Chicago, showing how artistic innovations responded to decades of racist urban planning that left Black neighborhoods sites of economic depression, infrastructural decay, and violence. Working with community leaders, children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcasing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era.

Fugitive Testimony traces the long arc of the African American slave narrative from the eighteenth century to the present in order to rethink the epistemological limits of the form and to theorize the complicated interplay between the visual and the literary throughout its history. Gathering an archive of ante- and postbellum literary slave narratives as well as contemporary visual art, Janet Neary brings visual and performance theory to bear on the genre's central problematic: that the ex-slave narrator must be both object and subject of his or her own testimony. Taking works by current-day visual artists, including Glenn Ligon, Kara Walker, and Ellen Driscoll, Neary employs their representational strategies to decode the visual work performed in nineteenth-century literary narratives by Elizabeth Keckley, Solomon Northup, William Craft, Henry Box Brown, and others. She focuses on the textual visuality of these narratives to illustrate how their authors use the logic of the slave narrative against itself as a way to undermine the epistemology of the genre and to offer a model of visuality as intersubjective recognition rather than objective division.

In the pages of this beautifully illustrated volume is the story of aneffort to build a bridge between museums and source communities inhopes of establishing stronger, more sustaining relationships betweenthe two and spurring change in prevailing museum policies. Theexperience of negotiating the tension between a museum’sinstitutional protocol described by both the authors and by Blackfootcontributors to the volume was transformative. Museums seek to preserveobjects for posterity. However, the emotional and spiritual power ofobjects does not vanish with the death of those who created them. ForBlackfoot people today, these shirts are a living presence, one thatevokes a sense of continuity and inspires pride in Blackfoot culturalheritage.

Micro Monumentality is the first title in a new series, Micro-Africa, which aims to highlight the artistic and cultural value of miniature objects made in Africa. The whole series will be based on a single private collection. Forthcoming titles will be dedicated to different ethnic groups and/or varieties of objects (jewels, talismans, containers, boxes, fetishes). The first volume introduces the concept behind the series, offering a broad overview of objects and materials created and used by a large number of different African ethnic groups. With superb full-page photographs and close-ups of single details, Micro Monumentality extols the wealth of expression found in talismans, weights, boxes, containers, fetishes, jewels, and other objects made from wood, ivory, bone, bronze, iron, aluminium, and stone. None of these exceed 15 cm (just under 6 inches) in height or length, and though indeed 'microscopic', they are as expressive as much larger works, and are even 'monumental' in their own right. Showcased here are approximately 150 objects from a unique collection of 20,000 pieces, purchased from renowned art galleries, exchanged between collectors, or found in Africa during decades of enthusiastic research. Representing the quintessence of African thought, religiosity, and prodigious formal inventiveness, this private collection is a celebration of the union of the miniscule, the sacred, and the precious. Including a long interview in which the collector talks about the origin of his passion, this book plunges the reader into a poetic odyssey of materials, forms, and rituals composed on a smaller scale. Text in English and French.

An introduction to the key Christian themes, signs, and symbols found in art, from the devotional works of the Medieval and Renaissance periods, to the co-existence, in the twentieth and twenty-first centuries, of the deliberately controversial and the consciously devotional.

Popular art is a masculine and working-class genre, associated with Panama's black population. Its practitioners are self-taught, commercial painters, whose high-toned designs, vibrant portraits, and landscapes appear in cantinas, barbershops, and restaurants. The red devil buses are popular art's most visible manifestation. The old school buses are imported from the United States and provide public transportation in Colon and Panama City. Their owners hire the artists to attract customers with eye-catching depictions of singers and actors, brassy phrases, and vivid representations of both local and exotic panoramas. The red devils boast powerful stereo systems and dominate the urban environment with their blasting reggae, screeching brakes, horns, sirens, whistles, and roaring mufflers.

"Wolf Tracks" analyzes the origins of these practices, tying them to rebellious, Afro-American festival traditions, and to the rumba craze of the mid-twentieth century. During World War II, thousands of U.S. soldiers were stationed in Panama, and elaborately decorated cabarets opened to cater to their presence. These venues often featured touring Afro-Cuban musicians. Painters such as Luis "The Wolf" Evans exploited such moments of modernization to challenge the elite and its older conception of Panama as a country with little connection to Africa. While the intellectual class fled from modernization and asserted a romantic and mestizo (European-indigenous) vision of the republic, popular artists enthusiastically embraced the new influences to project a powerful sense of blackness. "Wolf Tracks" includes biographies of dozens of painters, as well as detailed discussions of mestizo nationalism, soccer, reggae, and other markers of Afro-Panamanian identity."

Pop America, 1965-1975 accompanies the first traveling exhibition to stage Pop art as a hemispheric phenomenon. The richly illustrated catalogue reveals the skill with which Latin American and Latino/a artists adapted familiar languages of mass media, fashion, and advertising to create experimental art in a startling range of mediums. In a new era in hemispheric relations, artists enacted powerful debates over what "America" was and what Pop art could do, offering a radical new view onto the postwar "American way of life" and Pop's presumed political neutrality. Nine essays grounded in original archival research narrate transnational accounts of how these artists remade America. The authors connect the decisive design of the Chicano/a movement in the United States with the vivid images of the Cuban Revolution and new contributions to the Mexican printmaking tradition. They follow iconic Pop images and tactics as they traveled between New York and Sao Paulo, Bogota and Mexico City, San Francisco and La Habana. Pop art emerges in a fully American profile, picturing youthful celebration and painful violence, urban development and rural practices, and pronouncements of freedom made equally by democratic and repressive regimes. The bilingual catalogue reconstitutes a network of artists from the decade, including ASCO, Judith Baca, Eduardo Costa, Antonio Dias, Marcos Dimas, Felipe Ehrenberg, Rupert Garcia, Nicolas Garcia Uriburu, Rubens Gerchman, Edgardo Gimenez, Alberto Gironella, Jose Gomez Fresquet (Fremez), Beatriz Gonzalez, Gronk, Juan Jose Gurrola, Emilio Hernandez Saavedra, Robert Indiana, Nelson Leirner, Anna Maria Maiolino, Marisol, Raul Martinez, Cildo Meireles, Marta Minujin, Helio Oiticica, Dalila Puzzovio, Hugo Rivera Scott, Jorge de la Vega, and Lance Wyman, among others. Pop America, 1965-1975 will be on display at the McNay Art Museum in San Antonio, Texas, from October 4, 2018 to January 13, 2019; at the Nasher Museum of Art at Duke University from February 21 to July 21, 2019; and at the Mary and Leigh Block Museum of Art from September 21 to December 8, 2019.

The essays in More than One examine sequentiality and serialism in the practice of photography from the medium's earliest years to the present. Contributors explore nuances of syntax and sense raised by works like photographic albums, books, thematic portfolios, journalistic photo features, and documentations of performance art. Fully illustrated essays discuss, among other topics, the little-known volume Beyond This Point (1929), a collaborative experiment by American photographer Francis Bruguiere and London radio producer Lance Sieveking; the evolving relationship between public space and sexual self-definition in the early work of Minor White; and an important performance work by artist Ana Mendieta. The title essay surveys the social conditions and expressive motives that have given rise to serial and sequential forms throughout the history of photography. Distributed for the Princeton University Art Museum

Go behind the scenes at Te Papa Tongarewa Museum of New Zealand and discover more than 100 treasured items from the Museum's collection. 100 Amazing Tales from Aotearoa gives readers a special look at some of the surprising, wonderful, and significant pieces that Te Papa stores in trust for the nation. Learn the secrets of one of the first dinosaur fossils ever discovered, see new spider species, be inspired by famous paintings and quirky jewellery, encounter fearsome weapons from the Pacific, and uncover deep and personal stories of Maori taonga (treasures).The book is based on the popular TV mini-documentaries Tales from Te Papa, and includes a DVD of the complete series - with a bonus 20 episodes.

Sixteen obituaries of recently deceased Fellows of the British Academy: Brian Barry; Michael Baxandall; Robert Black; Henry Chadwick; Nicolas Coldstream; Howard Colvin; Mary Douglas; Robin Du Boulay; Alan Everitt; Robert Latham; Geoffrey Lewis; Laurence Picken; Thomas Puttfarken; Karen Sparck Jones; Christopher Stead; Denis Twitchett.

Presenting a novel and needed theoretical model for interpreting shipwrecks and other drowned fragments-the histories they tell, and the futures they presage-as junctures of artefact and ecofact, human remains and emergent ecologies, this book puts the environmental humanities, and particularly multispecies studies, in close conversation with literary studies, history, and aesthetic theory. Earth's oceans hold the remains of as many as three million shipwrecks, some thousands of years old. Instead of approaching shipwrecks as either artefacts or "ecofacts," this book presents a third frame for understanding, one inspired by the material dynamism of sea-floor stuff. As they become encrusted by oceanic matter-some of it living, some inanimate-anthropic fragments participate in a distinctively submarine form of material relation. That relation comprises a wide, and sometimes incalculable, array of things, lives, times, and stories. Drawing from several centuries of literary, philosophical, and scientific encounters with encrustations-as well as from some of the innumerable encrusted "art-forms" that inhabit the sea floor- this book serves anyone in search of better ways to perceive, describe, and imagine submarine matters.

For more than four centuries, communities of maroons (men and women who escaped slavery) dotted the fringes of plantation America, from Brazil through the Caribbean to the United States. Today their descendants still form semi-independent enclaves- in Jamaica, Brazil, Colombia, Belize, Suriname, Guyane, and elsewhere-remaining proud of their maroon origins and, in some cases, faithful to unique cultural traditions forged during the earliest days of Afro-American history. In 1986, expelled by the military regime of Suriname, anthropologists Richard and Sally Price turned to neighboring Guyane (French Guiana), where thousands of Maroons were taking refuge from the Suriname civil war. Over the next fifteen years, their conversations with local people convinced them of the need to replace the pervasive stereotypes about Maroons in Guyane with accurate information. In 2003, Les Marrons became a local best seller. In 2020, after a series of further visits, the Prices wrote a new edition taking into account the many rapid changes. Available for the first time in English, Maroons in Guyane reviews the history of Maroon peoples in Guyane, explains how these groups differ from one another, and analyzes their current situations in the bustling, multicultural world of this far-flung outpost of the French Republic. A gallery of the magnifi cent arts of the Maroons completes the volume.

Circles and Circuits: Chinese Caribbean Art examines artistic production in Cuba, Trinidad, Jamaica, and Panama, where large immigrant populations and political, economic, and socio-cultural conditions enabled the development of rich art practices in the Chinese diasporic community. The volume touches on the dynamic interconnections between the Chinese diasporic art communities and intercontinental Caribbean art movements bringing into focus the intimate relationships between the artists and those around them, including those who influenced their work, from peers to mentors and family. Circles and Circuits: Chinese Caribbean Art ultimately explores how global migrations and the legacies of cultural, political, and economic power have shaped Chinese Caribbean art practices in the Caribbean and its diaspora. This catalog accompanies the exhibition Circles and Circuits: Chinese Caribbean Art, presented in two parts: History and Art of the Chinese Caribbean Diaspora at the California African American Museum and Contemporary Chinese Caribbean Art at the Chinese American Museum. The exhibition is part of the Getty's initiative Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles. Presenting a wealth of rarely seen artworks, archival materials, and scholarship, the exhibitions and catalog shift the frame of critical discourse on Chinese Caribbean art history and visual cultures. Circles and Circuits: Chinese Caribbean Art offers a foundational introduction into Chinese Caribbean art and its global context. History and Art of the Chinese Caribbean Diaspora will be on display at the California African American Museum from September 15, 2017 through February 25, 2018. Contemporary Chinese Caribbean Art will be on display at the Chinese American Museum in Los Angeles from September 15, 2017 through March 11, 2018. Contributors. Alexandra Chang, Evelyn Hu-Dehart, Julia P. Hertzbert, Mar Hollingsworth, Walton Look Lai, Sean Metzger, Patrica Mohammed, Lok Siu, Steve Wong Published by the Chinese American Museum with the assistance of the Getty Foundation and distributed by Duke University Press

This richly illustrated volume highlights the history of Islamic cosmopolitanism as documented through works of art from the eighth century to the present; from the Mediterranean, North Africa, South Asia, and the United States; and including painting, architecture, textiles, calligraphy, photography, and animation. These essays examine Muslim artists, patrons, and collectors' engagement with global influences, as well as artistic exchange between Muslim and non-Muslim societies. Drawing on Kwame Anthony Appiah's view of cosmopolitanism as respect for the differences among people and acknowledgment of a shared community across those differences, leading scholars offer case studies of art objects that illustrate such dynamics in the Islamic cultural sphere. In doing so, they bring Islamic art history into dialogue with Western European medieval art, Byzantine art, African art, global modern art, and American art and architecture. This timely volume demonstrates the importance of cultivating coexistence, becoming citizens of the world, and recognizing the possibilities of cultural intersections. It offers historical examples of such intersections, for which works of art provide a visual testament.

A guide to the best of the collections at the Museum of Islamic Art in Doha, Qatar. With flagship architecture by I. M. Pei, an interior designed by J.-M. Wilmotte, and one of the world’s finest collections of its type, the Museum of Islamic Art in Doha, Qatar, is a dazzling showcase of the artistic achievements of the Islamic world. The collection represents the highest expression of artistic culture, covering lands from Spain to Central Asia and India, and ranging in date from the early Islamic period to the nineteenth century, including metalwork, miniatures, carpets, calligraphy and ceramics. Published to coincide with the re-opening of the museum galleries, this guide brilliantly conveys the quality and significance of the Museum of Islamic Art collection, presenting key objects with explanatory texts from the museum curatorial team.

Picturing Cuba explores the evolution of Cuban visual art and its links to cubanía, or Cuban cultural identity. Featuring artwork from the Spanish colonial, republican, and postrevolutionary periods of Cuban history, as well as the contemporary diaspora, these richly illustrated essays trace the creation of Cuban art through shifting political, social, and cultural circumstances.Contributors examine colonial-era lithographs of Cuba's landscape, architecture, people, and customs that portrayed the island as an exotic, tropical location. They show how the avant-garde painters of the vanguardia, or Havana School, wrestled with the significance of the island's African and indigenous roots, and they also highlight subversive photography that depicts the harsh realities of life after the Cuban Revolution. They explore art created by the first generation of postrevolutionary exiles, which reflects a new identity—lo cubanoamericano, Cuban-Americanness—and expresses the sense of displacement experienced by Cubans who resettled in another country. A concluding chapter evaluates contemporary attitudes toward collecting and exhibiting post-revolutionary Cuban art in the United States. Encompassing works by Cubans on the island, in exile, and born in America, this volume delves into defining moments in Cuban art across three centuries, offering a kaleidoscopic view of the island's people, culture, and history.