This unique collection takes a fresh look at Orientalism by
shifting its center from Europe to Ottoman Istanbul and thinking
about art in terms of exchange, reciprocity, and comparative
imperialisms. This new lens reveals the essential role of the
Ottoman city and its patrons and artists in the dialogues that
facilitated production, circulation, and consumption of British
Orientalist cultures. In this volume, art works are conceptualized
as travelling artefacts produced through localized interactions.
World renowned scholars and curators analyse the diverse audiences
for such art works and the range of differing contexts for their
reception both in the nineteenth century and more recently. In this
way, British art is put into a dynamic relationship with an
historicised understanding of cultures of collecting and display
during the formation of comparative modernities and also with the
contemporary postcolonial creation of new national models of
exhibition and education.
Featuring stunning visuals, this book puts art history in the
context of cultural, visual, and literary studies, challenging the
orthodoxies of postcolonial theory with the materiality of multiple
imperialisms and modernities to offer a new take on the collection,
display and consumption of Orientalist cultures.
Zeynep Inankur is a professor of art history at Mimar Sinan Fine
Arts University in Istanbul and coauthor of "Constantinople and the
Orientalists." Reina Lewis is Artscom Centenary Professor of
Cultural Studies at the London College of Fashion, University of
the Arts London, and author of "Rethinking Orientalism: Women,
Travel and the Ottoman Harem." Mary Roberts is the John Schaeffer
Associate Professor of British Art at the University of Sydney and
author of "Intimate Outsiders: The Harem in Ottoman" and
"Orientalist Art and Travel Literature." Other contributors include
Tim Barringer, Edhem Eldem, Ahmet Ersoy, Semra Germaner, Aykut
Gurcaglar, Teresa Heffernan, Briony Llewellyn, Nancy Micklewright,
Peter Benson Miller, Donald Preziosi, Gunsel Renda, Christine
Riding, Sarah Searight, Wendy Shaw, and Nicholas Tromans.
"This rich collection of essays displays a host of new ideas,
questions, and insights that spring from centering the study of
British and Ottoman Orientalist art in Istanbul, not London, and in
a particularly Ottoman milieu of connection, collaboration, and
reinvention." -Leslie Peirce, New York University
"Opens a new window to the study of Orientalist art with a
series of intriguing case studies drawn from the nineteenth century
British and late Ottoman visual cultures and] discussions of
contemporary art markets and the politics of curating." -Zeynep
Celik, New Jersey Institute of Technology"
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