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1
Emery, Elizabeth. "Imperialism, Art and Restitution." Commonwealth Law Bulletin 32, no. 4 (December 2006): 745–47. http://dx.doi.org/10.1080/03050710601179135.
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2
O'Connell, Mary Ellen, and Sara DePaul. "Report on the Conference: Imperialism, Art and Restitution." International Journal of Cultural Property 12, no. 4 (November 2005): 487–90. http://dx.doi.org/10.1017/s0940739105050253.
Повний текст джерелаАнотація:
March 26–27, 2004, in St. Louis, Missouri, the Washington University School of Law's Whitney R. Harris Institute for Global Legal Studies and the School of Art hosted the Imperialism, Art and Restitution Conference. The conference brought together many of the world's leading experts on art and antiquities law, museum policy, and the larger cultural context surrounding these fields. The conference organizers chose several particularly controversial case studies to generate debate and discussion around the issues of whether Western states and their museums should return major works of art and antiquities, acquired during the Age of Imperialism, to the countries of origin. The case studies included the Elgin/Parthenon Marbles, the Bust of Nefertiti, and objects protected by the Native American Graves Protection and Repatriation Act (NAGPRA). The format produced a lively, interdisciplinary, and sometimes passionate debate that helped crystallize issues and expose complexities but certainly produced no consensus around a simple solution of return or retain.
3
Đorđević, Marko. "Između proizvoda i dela: estetski fetišizam i finansijalizacija umetnosti." Život umjetnosti, no. 104 (July 2019): 86–99. http://dx.doi.org/10.31664/zu.2019.104.05.
Повний текст джерелаАнотація:
This paper focuses on the ideological transformation of modernistic aesthetic fetishism into what Professor Rastko Močnik has termed “aesthetic imperialism” in contemporary art. Our hypothesis is that this transformation is an effect of the overdetermination of artistic production to fictitious capital. In order to examine this hypothesis, we shall explore the transformation of the simple, modernist work of art into the twofold, contemporary work of art (which must first be a claim to aesthetic evaluation and only then a work of art). We do not suggest that modernism did not know the term “artwork,” as applying to those art products that were not recognized as works of art, but rather that there was a change in the very process of aesthetic evaluation. We believe that, unlike the unitary modernist recognition of products as works by the institution of art, there is twofold recognition in the contemporary age. Here the claim to aesthetic evaluation is allowed to every product, but confirmed only to those that successfully reproduce the ruling “aesthetic imperialism.” Even though ideologists of contemporary art present this change as a result of progressivism that is inherent to the institution of art, we would like to argue that it is an effect of the abovementioned overdetermination of artistic production by fictitious capital, that is, its effects in aesthetic and legal fetishism. This hypothesis will be examined in two relatively autonomous instances: economic and ideological (artistic).
4
Albert, Taneshia W., and Lindsay Tan. "Through the House of Slaves: A memorial to the origins of the Black diaspora." Art & the Public Sphere 10, no. 1 (July 1, 2021): 17–36. http://dx.doi.org/10.1386/aps_00046_1.
Повний текст джерелаАнотація:
The debate surrounding the removal of statues of imperialists, slave owners and slave traders raises the question of how to memorialize sombre historical truths with cultural humility. The House of Slaves on Gorée Island, Senegal, represents the connections of cultural identity, belonging and placemaking reclaimed from the enduring cultural trauma of the Trans-Atlantic slave trade. Using daughtering as a methodology (Evans-Winters 2019: 1), the authors present a discussion about the symbolic nature of art that memorializes a transformational passage shaped by imperialism and racist ideology. The critical relationship between art and culture as embodied in an architectural form is explored through (1) the anthropological notion of belonging as membership and identity, (2) the direct human affective/emotional impact of architecture as art in the social and political issues of past and present and (3) art as an intracultural interaction based in cultural trauma and community spaces. Theoretical Framework: critical race theory. Method: autoethnographic narrative. Results: The House of Slaves speaks of a critical cultural moment that shaped the creation of a new cultural diaspora. This historical structure has become a sacred, spiritual Mecca for those whose ancestors were displaced from continental Africa. The remains of its architectural form reveal the forgotten history of slave exploitation that happened here. This memorial speaks of the continued struggle to make a space safe for Black bodies, Black design and Black identity within the public sphere. The cultural memory of this artefact, and all moments and memorials shaped by imperialism and racism, haunt our present reality. Just as art played a role in celebrating now-outdated narratives, it may also reframe these sombre historical truths. Art can elevate contemporary narratives that embrace cultural humility and speak to cultural competence through the continued first-person experiences of these monuments, spaces and artefacts.
5
Marcus, Anthony. "Aurora, a novel of art and anti-imperialism." Dialectical Anthropology 41, no. 3 (August 14, 2017): 279–83. http://dx.doi.org/10.1007/s10624-017-9467-4.
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6
Vogt, Leonard. "The Poisonwood Bible, Lumumba, and A Congo Chronicle: Patrice Lumumba in Urban Art." Radical Teacher 113 (February 14, 2019): 62–63. http://dx.doi.org/10.5195/rt.2019.595.
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Lee, Judith Yaross. "Comic Empires: Imperialism in Cartoons, Caricature, and Satirical Art." Studies in American Humor 8, no. 1 (April 1, 2022): 193–97. http://dx.doi.org/10.5325/studamerhumor.8.1.0193.
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8
Shechtman, Anna. "The Medium Concept." Representations 150, no. 1 (2020): 61–90. http://dx.doi.org/10.1525/rep.2020.150.1.61.
Повний текст джерелаАнотація:
In the second half of the twentieth century, in the very decades when the concept of “media” entered the vernacular, the “medium concept” began to shape American art criticism and curation. This was no coincidence: “mediums” emerged as a category for the organization and appreciation of art as the dialectical counterpart to media, and in response to the cultural imperialism of its mass-produced forms. As art became increasingly public, mediums became the public face of art.
9
Tasrif, Muh. "DIMENSI SPIRITUAL KEBUDAYAAN DI TENGAH RELASI YANG TIMPANG ANTARA UTARA DAN SELATAN." El-HARAKAH (TERAKREDITASI) 10, no. 2 (August 10, 2008): 107. http://dx.doi.org/10.18860/el.v10i2.4429.
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<p>Moslem society as a part of the population of the south world, culturally, is in the influence of the hegemony of non-moslem culture, mainly, European, American, and Australian as parts of the north world population. Until the mid twentieth century, the hegemony existed in the form of military imperialism. Meanwhile, in the post mid twentieth century the hegemony changed into cultural imperialism in many areas, such as social, economic, social and even art. The countries of the south world have really done some efforts to face the neo imperialism, but have not suceeded well. Therefore, more serious effort should be done to face the neo imperialism, that is the creativity to make the European and American cultural products as materials that can be creatively rearranged and matched with the local culture. In the creative process the spiritual dimension of culture should become the basis of cultural production process at present and in the future to create a fair relation. The use of spiritual dimension of culture can create new cultural products. In turn, the cultural products of the south world will exist, and finally they can be exchanged with the products of the north world. This is what China is doing with its developing economic power to balance out the domination of Europe and America. The same hopefully appears from the Islam world although it needs more serious cultural works. According to Faisal Ismail, the awakening of Islam and its culture depend on the moslem themselves and their cultural works.</p><p> </p><p>Masyarakat Muslim sebagai bagian dari populasi dunia selatan, secara kultural, berada dalam pengaruh hegemoni budaya non-muslim, terutama Eropa, Amerika, dan Australia sebagai bagian dari populasi dunia utara. Sampai pertengahan abad ke-20, hegemoni itu ada dalam bentuk imperialisme militer. Sementara itu, pada pertengahan abad ke-20 hegemoni berubah menjadi imperialisme budaya di banyak bidang, seperti sosial, ekonomi, sosial dan bahkan kesenian. Negara-negara di dunia selatan telah benar-benar melakukan beberapa upaya untuk menghadapi imperialisme neo, namun belum berhasil dengan baik. Karena itu, usaha yang lebih serius harus dilakukan untuk menghadapi neo imperialisme, yaitu kreativitas membuat produk budaya Eropa dan Amerika sebagai bahan yang bisa ditata ulang secara kreatif dan disesuaikan dengan budaya lokal. Dalam proses kreatif dimensi spiritual budaya harus menjadi dasar proses produksi budaya saat ini dan di masa depan untuk menciptakan hubungan yang adil. Penggunaan dimensi spiritual budaya bisa menciptakan produk budaya baru. Pada gilirannya, produk budaya dunia selatan akan ada, dan akhirnya mereka bisa dipertukarkan dengan produk-produk dari dunia utara. Inilah yang dilakukan China dengan kekuatan ekonomi yang berkembang untuk mengimbangi dominasi Eropa dan Amerika. Hal yang sama semoga muncul dari dunia Islam meski membutuhkan karya budaya yang lebih serius. Menurut Faisal Ismail, kebangkitan Islam dan budayanya bergantung pada umat Islam sendiri dan karya budaya mereka.</p>
10
Ballantyne, Andrew. "Specimens of Antient Sculpture: Imperialism and the decline of art." Art History 25, no. 4 (September 2002): 550–65. http://dx.doi.org/10.1111/1467-8365.00344.
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11
Sekulić, Nada. "Ukradena autentičnost: recepcija primitivne umetnosti i kulture na reprezentativnim međunarodnim sajmovima krajem XIX i početkom XX veka." Issues in Ethnology and Anthropology 11, no. 3 (November 2, 2016): 897. http://dx.doi.org/10.21301/eap.v11i3.12.
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The colonial expansion has marked the beginning of the collecting of the art objects from the conquered countries and regions. Spanish conquistadors transported various cultural artifacts of Aztecs and Incas in Europe, where they became curiosities at the chambers of the royalty. With further geographical discoveries, through trade routes and wars, the number of these items considerably increased and in the 18th century the first museums were established where they were exposed for public exhibitions. At a time when there was no photographs nor film, for people who were not able to travel, museums and public exhibitions became the main source of information about primitive cultures, but also the main source for the construction of stereotypes about them. The most important among them were the great world exhibition fairs of technology and art. They represented the foundation of the global (imperialist) integration and vision of the world. The primitive cultures and various conflicting aspects of imperialist conquest were deleted by creating the image of their timelessness and backwardness, as well as of their exotic beauty and authenticity. Primitive culture and imperialism were framed in the common picture of their mutual harmonious complementarity. The authenticity of the cultural artifacts of primitive cultures together with the entire nations and their resources have been colonized and exploited giving way to the ideology of modernism and the development of capitalism.
12
Sun, Shuting. "Imperialist Ideology and Kurtz in Heart of Darkness and Apocalypse Now." English Language and Literature Studies 9, no. 2 (May 23, 2019): 64. http://dx.doi.org/10.5539/ells.v9n2p64.
Повний текст джерелаАнотація:
This article will argue that the tragedy of both Kurtzes is that they are trapped in the perverse logic of the ideology of imperialism. The ideology of imperialism assumes the absolute superiority of the oppressor. It is self-contradictory because it is based upon classifying the oppressed as morally inferior, but maintaining imperialism requires systematic barbarity, which morally degrades the imperialist. The historical response of successful imperialists to this has been a special kind of hypocrisy embodied in an attempt at creating distance between actor and act, perpetrator and victim. This article will make the case that both Kurtzes are destroyed by their moral integrity. They honestly admit their depravity to themselves. This grants them great power in facilitating imperial strategic aims but forces them to acknowledge the lie at the heart of imperialist ideology that legitimized the strategy, rendering their acts purposeless. The honesty of their conduct undermines the imperialist ideology. The honesty of their undertakings causes the managers to increasingly perceive Kurtz as a threat and identify him with the ‘savages’ they are supposed to be ‘civilizing’. Kurtz challenges the hypocrisy of the ideology of imperialism precisely insofar as he helps it achieve its true aims.
13
Jamal, Ashraf. "Black Self." Thinker 91, no. 2 (June 6, 2022): 7–9. http://dx.doi.org/10.36615/thethinker.v91i2.1284.
Повний текст джерелаАнотація:
When asked to convene a colloquium about something that, for me, defines the art world during this on-going pandemic, I thought of the obvious – revisionism in the West, and the stratospheric obsession/fetishization of the black body. Why, I wondered, is black portraiture ‘a thing’? And why, of all people, was Amoako Boafo the most sought-after black portraitist in 2020? Why, at this historicalmoment, should the art world reclassify its driving concerns, rethink curation, staffing, education, and access? Because black art is the new frontier? Because of a seismic ethical shift, generated by theslaughter of blacks in America? Because the spectreof imperialism persists?
14
Miles, Kate. "Painting international law as universal: imperialism and the co-opting of image and art." London Review of International Law 8, no. 3 (November 1, 2020): 367–98. http://dx.doi.org/10.1093/lril/lrab002.
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Abstract Visual international law tells stories. Image and art supporting imperialism in the eighteenth and nineteenth centuries also projected the authority and universalism of international law. This article argues that depictions of treaty-making, of international legal theorists, and of conferences were about painting European international law as ‘successful’—telling stories of an authoritative, universal, and virtue-laden mode of international regulation.
15
Moss, Anne Eakin, Niloofar Haeri, and Narges Bajoghli. "Legacies of Protest Art in Iran." Public Culture 36, no. 2 (May 1, 2024): 153–79. http://dx.doi.org/10.1215/08992363-11158958.
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Abstract This article examines the art practice of a group of professors and students—who later came to be known as Group 57—at the Fine Arts College of the University of Tehran during the revolutionary period of 1978 to 1980. Through interviews with artists and art historical research, the authors describe the artists’ workshop where they produced posters against the Shah, the United States, and imperialism. Their posters drew on the bold colors, clear text, symbolic imagery, and easy reproducibility of international radical poster art and the early Russian revolutionary avant-garde. The authors recover these aesthetic and intellectual connections in the academic and professional training of the artists and in the art historical context of the posters themselves, examining the posters’ recent and more distant influences, and reinscribing the artists in the history of Iranian art and international art history. The authors also point toward connections between Group 57 and protest art in Iran today.
16
Menon, Rajan, and John R. Oneal. "Explaining Imperialism: The State of the Art as Reflected in Three Theories." Polity 19, no. 2 (December 1986): 169–93. http://dx.doi.org/10.2307/3234909.
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Bakke, Monika. "Art for Plants' Sake? Questioning Human Imperialism in the Age of Biotech." Parallax 18, no. 4 (October 16, 2012): 9–25. http://dx.doi.org/10.1080/13534645.2012.713196.
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Aluou, Ayuel Monyluak. "Sovereignty and Humanitarian Intervention: A legal challenge of Art. 4(H) of the African Union Constitutive Act." East African Journal of Law and Ethics 7, no. 1 (July 13, 2024): 42–51. http://dx.doi.org/10.37284/eajle.7.1.2045.
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The emergence of the new norm of military intervention based on humanitarian grounds, also dubbed as ‘Responsibility to Protect (R2P)’, after the end of the Cold War, has been described as ‘highly controversial’ and that its application could connote humanitarianism or imperialism (Zimmermann, 2014). In that, its application would eclipse the principle of sovereignty, considered the very foundation of the international system. This article is an attempt to assess the legality of Art. 4(h) of the African Union Constitutive Act of 2002, particularly, its incompatibility with the principle of sovereignty. This legal challenge can only be understood by giving a brief sketch of both sovereignty and the legitimacy of the transnational norm of military intervention that has been institutionalized by the African Union Constitutive Act
19
Bennett, Helen. "Being Modern: Living in Flats in Interwar Brisbane." Queensland Review 13, no. 2 (July 2006): 35–48. http://dx.doi.org/10.1017/s1321816600004414.
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In the period between the First and Second World Wars, Brisbane — in common with most of the ‘Western’ world — embraced a self-conscious modernity: the by-product of nineteenth century industrialisation, imperialism, liberalism and emergent consumerism. Reflected in material and intellectual culture from high art to daily lifestyle, and from the home to the workplace, modernity became the catch-cry and call-sign of the interwar years.
20
Walonen, Michael. "Globalization, Yankee Imperialism, and Machismo in the Mexican Narco-Narrativa." Latin American Literary Review 46, no. 92 (November 12, 2019): 44–52. http://dx.doi.org/10.26824/lalr.117.
Повний текст джерелаАнотація:
Rather than existing in a parallel, disconnected manner from the licit transnational circuits of the global capitalist economy, the transnational drug trade is in fact a core component of this system and one that has to a considerable extent dictated the terms of Mexico’s into this system, as well as the shape of contemporary Mexican society. This has given rise to a sizeable body of narco-narrativas (‘narco-narratives’) which serve as means of textually exploring Mexico’s immediate ‘street-level’ experiences of the transnational flows of capital and goods comprising globalization and the social consequences of the shift towards neoliberal political economy. This essay argues that in doing so these narratives variously confront the shifting social dynamics of neoliberal globalizing Mexico, a U.S. imperialism that takes new forms for a new era, and the culture of machismo that animates Mexican drug cartels. Martin Solares’s Don’t Send Flowers poses this period of rising cartel violence as a second major crisis transforming Mexican society, after the economic collapse and subsequent IMF-mandated structural reforms of 1982, one that runs the risk of simply producing more uneven and socially marginalizing capitalist development. Elmer Mendoza’s The Acid Test, on the other hand, sees a sad inevitability in continuing drug violence and an exiled but not effaced possibility of moral action and leftist populist social reform, while Yuri Herrerra’s Kingdom Cons uses the figure of the drug trafficking kingpin to allegorizes the relationship of art to worldly power and stress the need of art to distance itself from capitalist criminality and propagandistic social functioning.
21
Ian Shin, K. "The Chinese Art “Arms Race”." Journal of American-East Asian Relations 23, no. 3 (October 27, 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.
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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.
22
Spencer, Catherine. "Navigating Internationalism from Buenos Aires: The Centro de Arte y Comunicación." ARTMargins 10, no. 2 (June 2021): 50–72. http://dx.doi.org/10.1162/artm_a_00292.
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Abstract This article maps the complex socio-political terrain negotiated by the Centro de Arte y Comunicación (CAYC) during the early 1970s from Buenos Aires. It shows how the CAYC attempted to continue the internationalising aims which the Instituto Torcuato Di Tella had pursued in the 1960s, while also providing a space for the exhibition and development of Conceptualism that engaged with political conditions in Argentina and in other countries including Brazil, Uruguay, Chile and Columbia, developing the framework of “systems art” in order to do so. The compromises necessitated by CAYC's balancing act opened the organisation, and in particular its director Jorge Glusberg, to accusations of cultural imperialism and complicity: from almost the very beginning, the CAYC project was characterised by dissensus and disagreement. The controversy generated by CAYC – documented in archives, publications and exhibition catalogues – now offers a rich historiographical resource for Latin American art, revealing how competing models of internationalism and Conceptualism were closely intertwined rather than diametrically opposed.
23
Potter, Pitman. "People's Republic of China Provisional Regulations on Art Import and Export Administration." International Journal of Cultural Property 18, no. 1 (February 2011): 131–37. http://dx.doi.org/10.1017/s0940739111000099.
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China's increased interaction with the global community has led to significant changes in art and artistic expression. The China art market is expanding by leaps and bounds, and artists are subject to an increasingly broad range of influences. Not least of these are the discourses of artistic criticism, with targets that range from international financial institutions to domestic policies. Art in China has for millennia been used as a vehicle for political criticism. Among early examples are the bamboo and landscape paintings of the Yuan dynasty that conveyed a sense of whimsical alienation from the affairs of formal society—implicitly a critique of Mongol rule. During the revolutionary period prior to 1949, the Communist insurgency encouraged painters like Shi Lu to enliven popular resistance to Japanese imperialism and against China's Goumindang rulers.
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Ledbury, Mark, Todd Porterfield, and Darcy Grimaldo Grigsby. "The Allure of Empire: Art in the Service of French Imperialism 1798-1836." Art Bulletin 86, no. 3 (September 2004): 603. http://dx.doi.org/10.2307/4134449.
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25
Heng Wong, Yuet. "Beyond Imperialism: The 19th-Century Display of Chinese Art at the Musée Guimet." Arts asiatiques 74, no. 1 (2019): 69–86. http://dx.doi.org/10.3406/arasi.2019.2026.
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Howorus-Czajka, Magdalena. "Lęk i czerwona kotara. Prestiż a twórczość nie-filmowa Davida Lyncha." Panoptikum, no. 19 (June 30, 2018): 176–84. http://dx.doi.org/10.26881/pan.2018.19.12.
Повний текст джерелаАнотація:
Inspired by David Lynch’s works of visual art, this paper is an attempt to identify some extra-artistic mechanisms (the art market) relating to artworks. As a result, his non-cinematic works have been analysed here in the context of the mechanisms operating in culture, as indicated by Mieke Bal (“cultural imperialism”) and James F. English (“economy of prestige”). The artistic works of the American film director have been located on the main axes identified in this context. In addition to the expressionist-surrealist origin and commonly acknowledged connotations with the works of Edvard Munch, Oskar Kokoschka and Francis Bacon, the author also shows ideological threads combining Lynch’s works with Tadeusz Kantor’s legacy.
27
Bloom, Lisa E. "Countering colonial nostalgia and heroic masculinity in the age of accelerated climate change: The Arctic artworks of Katja Aglert and Isaac Julien." Moving Image Review & Art Journal (MIRAJ), The 12, no. 1 (April 1, 2023): 9–21. http://dx.doi.org/10.1386/miraj_00103_1.
Повний текст джерелаАнотація:
This article explores two screen-based artworks: Katja Aglert’s Winter Event – Antifreeze (2009–18) and Isaac Julien’s True North (2004) respectively, that exemplify diverse viewpoints contesting the essentialized identities of the Arctic past. These artworks recover the histories of women, the Inuit and African American men’s involvement in polar exploration, reimagining heroic narratives from historically excluded or ignored perspectives. By employing irony and humour, these artworks expand our understanding of how media-based art can respond to the ironies of a warming planet and challenge colonial nostalgia for White male heroism. The artworks traverse not just the human imperialism of the colonial era but also the newer imperialism in the age of the Anthropocene and the Capitalocene, decentring the mythic and exotic qualities of expedition narratives. Ultimately, the irreverent artwork encourages us to rethink an aesthetics of the distanced sublime from Romantic aesthetics and its roots in European Universalism, promoting a more inclusive and intersectional approach to the Arctic and its representation.
28
Guskov, Evgeniy. "“The Art of Management”: Empires and Imperialism in History and Modernity. Discourses and Practices." Novaia i noveishaia istoriia, no. 6 (2023): 212. http://dx.doi.org/10.31857/s013038640026001-9.
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Arya, Rina. "Decolonizing art and design: Rethinking critical and contextual studies." Art & the Public Sphere 11, no. 1 (April 1, 2022): 55–60. http://dx.doi.org/10.1386/aps_00068_1.
Повний текст джерелаАнотація:
The history of art, more accurately described as the history of western art, has been premised on a history of cultural imperialism that privileges certain traditions and ideologies over others. The decline of the discipline within the academy in recent decades and replacement in many cases with the more critically evaluative and broader area of critical and contextual studies (CCS) has filled a function in art and design education but needs to be critically interrogated for its relevance and its pedagogical usefulness in thinking about the politicized discourse of art. Attempts have been made within the academy to decolonize the curriculum. Within the context of CCS this entails ensuring standardizing the approach to the subject but not the content, which would be neither desirable nor possible given the decentralized way in which CCS is staffed. A standardization of approach means the inculcation of critical reflexivity when considering structures of knowledge, which helps identify gaps in the curricula and ways of addressing these. Decolonizing is a process that needs to be continuous and reflexive in order to embed significant change.
30
Silver, Carole G. "VICTORIANS LIVE: Images of Empire: Art and Artifacts in Cape Town, South Africa." Victorian Literature and Culture 34, no. 1 (March 2006): 335–42. http://dx.doi.org/10.1017/s1060150306211197.
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CAPE TOWN, SOUTH AFRICA–eclectic, vibrant, and heterogeneous–still bears the marks of its past as a site of Victoria's empire. The city abounds in English Victorian artifacts: buildings, statues, fountains, streets and their names (even to Victoria Street and Rhodes Drive) are all reminders of the period, but one wonders what, if anything, they mean to the people who live with them. Some recognize them as a legacy–pleasant or unpleasant– of the days when the Cape was a British colony; to others they are symbols whose context has been forgotten, to yet others, they are simply objects devoid of extrinsic meaning. All are, however, artifacts of imperialism, in its broader sense of the social, political, economic, and cultural domination of one group over all others.
31
Reid, Donald Malcolm. "Cultural Imperialism and Nationalism: the Struggle to Define and Control the Heritage of Arab Art in Egypt." International Journal of Middle East Studies 24, no. 1 (February 1992): 57–76. http://dx.doi.org/10.1017/s0020743800001422.
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It was Europeans who started in Egypt a historic preservationist movement for Arab (or Islamic) art.1 It was they who persuaded Khedive Tawfiq to decree, in December 1881, the founding of the Committee for the Conservation of Monuments of Arab Art (hereafter “the Comité,” the usual French designation). It was the European-dominated Comité that opened the Museum of Arab Art three years later, and it was an Englishman, K. A. C. Creswell, who established the Institute of Islamic Archaeology at the Egyptian (later Cairo) University. Why did the Europeans care? In 19th-century Europe, romanticism gave a strong impetus to writers and painters, scholars, and collectors to search for a lost past, the unusual, the exotic, the “Oriental.” This inquiry into the past, at home and abroad, was intimately bound up with Westerners' search for their own identities and with the triumph of the idea of the nation-state. Historic preservationists and museums selected, conserved, and displayed buildings and objects defined as valuable to their national heritages. Romanticism, in part a revolt against classical styles, also spurred a "Gothic revival movement and a fascination with various Oriental styles.
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Alonso Cano, Oriol. "Quiasmo Metodológico: El arte como Fuente de Experiencia." Barcelona Investigación Arte Creación 4, no. 3 (October 2, 2016): 248. http://dx.doi.org/10.17583/brac.2016.1936.
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This research proposes to indicate the need of multiplicity of methodologies in the moment to approach at human experience. Any methodological imperialism (scientific, social, humanist ...) it’s condemned to the failure since it will be unable to be able to include the totality of the ontological wealth of the human experience. For this reason, it will be observed like, the art, it can be raised in a diaphanous example of methodology that, close to the rest of disciplines, offers us the possible tools to be able to work with the experience.
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Arik, Hülya. "Muslim Women, Transnational Feminism, and the Ethics of Pedagogy." American Journal of Islam and Society 32, no. 4 (October 1, 2015): 104–9. http://dx.doi.org/10.35632/ajis.v32i4.1007.
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The asphyxiation of subaltern voices and the disregard of Arab and Muslimwomen’s subjectivities in the cultural sphere of the post-9/11 era is the mainproblematic addressed by this collection. With the editorship of Lisa K. Taylorand Jasmin Zine, and based on the legacy of post-colonial writers like GayatriSpivak and Paulo Friere, this collection foregrounds how Orientalism operateson the ground and discusses how we can come up with new discursive toolsand spaces for articulations of difference and diversity and for “reading back” to resist the Empire. Critical public pedagogy is both the main objective and themain analytical tool in unmaking the epistemic frameworks of western imperialism,Orientalism, and patriarchy. The articles take up different stories to exposehow racist, patriarchal, imperialist, and neo-Orientalist legacies cooperate withwestern feminism in the public and cultural realms and determine the forms ofrepresentation and modalities of agency that Muslim and Arab women canclaim. Presenting examples from South Asia to North America to the MiddleEast through various cultural media (e.g., literature, the visual arts, film, andperformance art), this volume contributes to studies in critical pedagogy, transnationalfeminism, and cultural and Islamic studies. It addresses an audience thatranges from academics and students to artists and public pedagogues ...
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Waterfeld, Sarah. "B6112—Art after All: The Alleged Occupation of the Volksbühne am Rosa-Luxemburg-Platz." Theatre Survey 59, no. 2 (April 25, 2018): 276–81. http://dx.doi.org/10.1017/s0040557418000108.
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B6112 is a collective anticapitalist, feminist, antiracist, and queer transmedial theatre production. Welcome to our artwork! Our theatre, our art, our poetry, and our work are weapons of struggle. Art does not take place in a political, social, or economic vacuum. Art takes place in world structured by imperialism and its slaughter, war, destruction, commerce, and slavery. Art must engage with this in both content and form. Otherwise it is obsolete. B6112 advocates a theatre that calls for revolution, reveals relationships of domination, denounces grievances, names guilty parties, presents resistance strategies, explores them, rejects them. B6112 stands for the elimination of nationalisms and gender inequality, for a global citizenship, for a world community in which all people peacefully coexist in equal living conditions. B6112 stands for self-organization and emancipation, for a hierarchy-free theatre that has a mimetic and thus exemplary effect on society. In the face of global disasters, we reject an entertainment theatre or a theatre of display that acts as an opiate in the society. Only when our goals have been achieved will we be able to renegotiate the role of the theatre for our society, redefine its content, and redefine the question of relevance.
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Ayad, Lara. "Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art." ARTMargins 11, no. 3 (October 1, 2022): 24–68. http://dx.doi.org/10.1162/artm_a_00324.
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Abstract On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment artist groups in Egypt. What could explain al-Deeb's transition from creating art in opposition to national museums, to painting for such institutions? This essay analyzes al-Deeb's four paintings, which I call Homegrown Heroes, and argues that they began shifting the urban Egyptian public's perceptions of the male peasant subject and his role in achieving national sovereignty. Many scholars put nationalist and avant-garde narratives of Egyptian identity in opposition. This essay reveals the patriarchal frameworks underlying representations of folk art and authenticity among nationalists and the avant-garde alike in their meditations on the peasant figure. Contextualizing Homegrown Heroes in the surrounding art and science displays, popular culture, and sociopolitical shifts of the interwar period shows that male peasant figures in Egyptian art transformed from passive symbols of cultural backwardness to heroic citizens who use folk-art practices to liberate Egypt from Western imperialism.
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Rajan, Doris, Roshanak Jaberi, and Shahrzad Mojab. "Confronting Sexual Violence Through Dance and Theatre Pedagogy." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): 255–61. http://dx.doi.org/10.15402/esj.v5i2.68349.
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The historically-shaped violence embedded in ongoing relations of colonization and imperialism for both refugee and Indigenous women across the globe are stories mostly told in reports and statistics. The performance-based art forms of theatre and dance can enhance knowledge sharing, build relationships and assist women in a deeper understanding of their realities. In pursuit of an effective use of these art forms; however, scripted stories need to ensure that women who experience oppression, formulate the storytelling. In addition, the enactment and representation should share women’s material histories in order to contextualize experiences in terms of specific relations to land, war, violence, displacement and dispossession. Using the two case studies of Doris Rajan’s play, A Tender Path and Roshanak Jaberi’s multidisciplinary dance project, No Woman’s Land, this article examines how community-engaged research and performance arts-based approaches can be used to challenge and provoke our ways of understanding and thinking about how to disrupt and alter oppressive relations.
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Cheng, Joyce. "Surrealism’s “Primitive Reason”: Magic, Technique, Alteration." Comparative Literature 76, no. 2 (June 1, 2024): 157–78. http://dx.doi.org/10.1215/00104124-11052909.
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Abstract This essay examines the primitivist art theories of the surrealist milieu, focusing on the concept of magic. The first part shows how, informed by early twentieth-century ethnological theories, the surrealist poets like André Breton, Louis Aragon, and Jules Monnerot evoked magic to name a creative method that circumvents artistic originality and the means-and-end logic of technique. This generalization of magic as aesthetic concept contributed to surrealism’s ethical-political project in the early 1930s, which positioned itself against a bourgeois art complicit with European imperialism and solidarized with cultures the former deemed “magical” or “primitive.” The second part shows how the concurrent art theories of George Bataille and Carl Einstein participated in the surrealists’ project of the “universal primitive,” but maintained the primitive-modern dichotomy in their affirmation of comparable oppositions: for instance, barbarian transgression versus civilized ideality (Bataille), or manual artisanry versus mechanization (Einstein). Finally, I suggest that the surrealists circumvent this predicament when considering the mechanical medium of photography as magic, thereby reconstruing the condition of demanualization (the dispensability of the human hand in making) as primitive and modern.
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Dhuhri, Saifuddin, Hamka Hasan, Ahmad Sholeh Sakni, and Iffatul Umniati Ismail. "Passive Islamophobia and cultural national construction: a critical note on art curriculum." Indonesian Journal of Islam and Muslim Societies 11, no. 1 (June 21, 2021): 1–27. http://dx.doi.org/10.18326/ijims.v11i1.1-27.
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This study aims to explore the passive Islamophobia in the arts and culture subjects on the KTSP and K-13 curriculum of secondary schools. Employing the representation theory, this article explores the relationship between marginality and Islamophobia integrated into the fine arts curriculum. Through content analysis of 2 textbooks for grades VII and VIII, some elements of marginalization in the Islamic cultural values were found. The conception of Indonesian nationality originates from various internal solidarity and contestation between Islamism, Hinduism and secularism in resistance to imperialism. The fallacy in the narrative of the mainstream of Indonesian nationalism seen as deeply rooted in the legacy of Majapahit/Hinduism, which unwittingly calls Indonesia the new Majapahit needs to be straightened out. The construction of cultural nationalism, meanwhile, overrides Islamic culture and identity. This article indicates that the teaching of the nationality of Indonesian culture does not consider the heritage of Islamic arts and culture. The marginality and exclusion of Islamic arts and culture in the construction of Indonesian nationality through the art curriculum and art education policy shows passive Islamophobia internalized therein, instead of the existence of accommodation and respect for Islamic culture.
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Maidment, Brian. "Comic Empires: Imperialism in Cartoons, Caricature and Comic Art ed. by Richard Scully and Andrekos Varnava (review)." Victorian Periodicals Review 56, no. 2 (June 2023): 312–14. http://dx.doi.org/10.1353/vpr.2023.a912323.
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Sekulic, Nada. "The impact of Japonisme on European art and painting in the late 19th century: Characteristics of cultural exchange during the rise of European imperialism." Bulletin de l'Institut etnographique 72, no. 1 (2024): 117–30. http://dx.doi.org/10.2298/gei2401117s.
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Since the opening of Japan to trade with the West, a cult of Japanese aesthetics in the art and design has been created in Europe. Japonisme exerted a remarkable influence on the emergence of Impressionism and Post-Impressionism, including a recognizable individual influence on key artists within those movements. Motifs, technique, composition, colors were directly borrowed from Japanese art, especially woodcats (ukiyo-e). Japonisme also influenced some later movements in painting and design, but Impressionism and Post-Impressionism represented the initial turning point. Only by considering the imperial expansion of Europe is possible to understand the essential components of that transmission, which requires not only art criticism, but rather, in its complexity, significantly overflows into the field of social critique and anthropology of art. The aim of this study is to trace the pathways and networks of exchange and power that facilitated the spread of Japonisme in Europe - to show how elements of Japanese culture were adopted, assimilated, and to what extent the inventions and originality of new styles and the establishment of new aesthetic standards relied on the dominant position of European culture, which could appropriate elements from other cultures. The study highlights how this transfer was marked by an exotic and Orientalist vision of Japan in Europe and examines the reception of the exoticization of Japan within Japan itself.
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Ikegami, Hiroko. "Pop as Translation Strategy: Makishi Tsutomu's Political Pop in Okinawa." ARTMargins 7, no. 2 (June 2018): 42–71. http://dx.doi.org/10.1162/artm_a_00208.
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This essay makes the first sustained study of the Okinawan artist Makishi Tsutomu (1941–2015) who used American Pop Art vocabularies to describe the complex realities of US-occupied Okinawa. Focusing on his 1972 installation Commemorating the Reversion to the Great Empire of Japan, the essay examines the critical ambivalence of Makishi's Political Pop as a translation strategy. Despite his critique of both American and Japanese imperialism, Makishi was aware that Okinawa was inseparably entangled in it, especially in the context of the Vietnam War, which brought violence, but also economic benefits, to Okinawa. Despite his use of the American Pop idiom as a new lingua franca for contemporary art, Makishi's work did not reach either mainland or international audiences as the artist exhibited almost exclusively in Okinawa. By comparing Makishi's artistic strategies with those of a representative Okinawan novelist, Ōshiro Tatsuhiro, especially as articulated in his 1967 novella The Cocktail Party, the essay situates the significance of Makishi's project within the emerging discourse on the global neo-avant-garde.
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Kousser, Rachel. "Chryselephantine Couches, Feasting, and Imperial Violence in Hellenistic Macedonia." Mediterranea. International Journal on the Transfer of Knowledge 9 (April 23, 2024): 1–51. http://dx.doi.org/10.21071/mijtk.v9i.15174.
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Macedonian chryselephantine couches - exquisitely carved and gleaming with gold, glass, and ivory - offer a particularly illuminating case study of the material ramifications of Alexander the Great’s conquests for Hellenistic art. Well-documented in archaeological remains and written texts, the couches also offer a concrete lens through which to analyze the transfer of cultural knowledge about feasting: an ephemeral activity as significant for Hellenistic kings as for their Persian predecessors. This article examines the couches’ archaeological contexts, the aristocratic tombs in which they were found and the elaborate palaces and elite houses in which they were likely first used. It then analyzes the couches themselves as delicate luxury objects that nonetheless, in their iconography, style, and even their material, highlighted the violence of Macedonian imperialism. And finally, it considers the ephemeral practices through which the couches were activated for their patrons, that is, the feasts and funerals at which the Macedonian aristocracy both emulated and reacted against Persian precedents. This re-evaluation of Macedonian chryselephantine couches illuminates global interconnections during the formative period of Hellenistic art.
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PHILLIPS, WESLEY. "Spaces of Resistance: the Adorno–Nono Complex." Twentieth-Century Music 9, no. 1-2 (March 2012): 79–99. http://dx.doi.org/10.1017/s1478572212000217.
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AbstractThe historical and theoretical resonances between the work of Theodor Adorno and that of Luigi Nono have hitherto remained underexplored. In this article a debate is constructed between the two figures concerning the politics of space in advanced music in order to question a frequently held opposition between ‘autonomous’ and ‘political’ art. Nono can be seen to interweave German and Italian traditions of historical materialism, responding simultaneously to the issues of both reification and imperialism. This is drawn out by way of Adorno's evolving attitude towards the younger generation at Darmstadt, via his revised understanding of the relationship between music and painting. Conversely the solidarity Nono maintained with contemporary spaces of resistance while not compromising his musical language promises to expand Adorno's aesthetic theory.
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Joshi, Dipak Raj. "Ambivalent Representation of India and its Politics in Hodges’s Travels in India." Contemporary Research: An Interdisciplinary Academic Journal 6, no. 1 (June 7, 2023): 63–71. http://dx.doi.org/10.3126/craiaj.v6i1.55375.
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This paper analyzes ambivalent representation of India in William Hodges' Travels in India. The exploration of politics behind such representation can be interesting area to investigate. The writer has tried to portray the contradiction between ruins, antiquity, and depopulated habitation on the one hand; and modification, cultivation, and populated habitation, on the other. The horrendous act of sati has been depicted in a smart way as Hodges does not criticize Hindu tradition of self-immolation of wives for the death of their husbands; while the same custom was declared illegal and punishable later by English rulers in India during colonial time. Similarly, Hindu art and architecture has not been observed with the spectacle of Greek art which was considered model worldwide; rather it has been depicted as superb and guided by climate, culture, and geography of its own. Promod K. Nayar's notion of imperial sublime, Saree Makdisi's Romantic imperialism, and Julie Reiser's idea on writer as shared nervous system of circumstances have been used to strengthen the argument. The study concludes that the ambivalent representational stances created in Hodges' narrative try to justify English rule in India in the consolidation phase of the empire. Previous studies highlighted deserted landscape, customs, populations mainly focusing on the representation of Hindus, their art, architecture, the Muslim indolence resulting in devastation and ruin. This study, however, investigated the ambivalent representation and its politics behind the portrayal of the need of English presence in India for modification and habitation. Finally, this study also throws light on the gap for future research on the circumstances that led to the development of negative representation of the natives in colonial writing.
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Young, Allison K. ""We Never Did Return": Migration, Materiality and Time in Penny Siopis' Post-Apartheid Art." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 45–70. http://dx.doi.org/10.5195/contemp.2015.131.
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This article explores “migration” as both theme and operation in two works by the South African artist Penny Siopis, each created in the year 1997: the artist’s first film, My Lovely Day, and a related object installation entitled Reconnaissance (1900-1997). In each work, Siopis traces the course of her grandmother’s emigration from Europe to Africa through a variety of found, collected, or inherited components that bore witness to the longue durée of imperialism and Apartheid. Mediating between national, cultural, and familial narratives, these works are inherently archaeological in nature, and allowed viewers at the time to reflect on the multiple entangled histories that comprised the post-Apartheid condition. The late nineties in South Africa were defined by the conclusion of Apartheid, the Truth and Reconciliation Commission, and two major biennale exhibitions of contemporary art. The decade thusly saw a stream of collective efforts to both unearth the past and envision the future, marking a time of great cultural, artistic, political, and discursive transition. Mapping questions of medium-specificity and affect over this larger context, I investigate Siopis’ use and manipulation of historical traces as well as notions of contemporaneity and temporality in her art.
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Quiñones-Otal, Emilia. "Women’s bodies as dominated territories: Intersectionality and performance in contemporary art from Mexico, Central America and the Hispanic Caribbean." Arte, Individuo y Sociedad 31, no. 3 (July 1, 2019): 677–93. http://dx.doi.org/10.5209/aris.61786.
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Since the 1970s, artists from Central America, Mexico and the Hispanic Caribbean have explored the connection between imperialism and gender violence through innovative artistic proposals. Their research has led them to use the female body as a metaphor for both the invaded geographical territory and the patriarchal incursion into women’s lives. This trend has received little to no attention and it behooves us to understand why it has happened and, more importantly, how the artists are proposing we examine this double violence endured by the women who live or used to live in countries with a colonial present or past. The resulting images are powerful, interesting, and a great contribution to Latin America’s artistic heritage. This study proposes that research yet to be done in other Global areas where colonies has been established, since it is possible that this trend can be understood, not only as an element of the Latin American artistic canon, but also integral to all of non-Western art.
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Greene, Roland. "Baroque and Neobaroque: Making Thistory." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 150–55. http://dx.doi.org/10.1632/pmla.2009.124.1.150.
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Among the most historically fixed of art historical and literary concepts, the Baroque arises at the intersection of early modern classicism, imperialism, and science—that is, out of the high Renaissance—to become a kind of antiprogram of resistances: to the absolutist state, the rise of empirical science, the pressures of empire, and other sixteenth-century signs of the gathering regimentation of knowledge. With a flourish of forms and a play of perspectives, the baroque embodies the recoil from such regimentation and the gathering sense that all these systems for organizing human experience fall short in the face of disorder, contingency, and death. Seen from certain vantages, the specimens of the baroque often seem complicit with the projects of absolutism, empire, and late humanism; but regarded in all their dimensions, such works are often complex reactions, critical and compromised, to those projects.
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Stortini, Paride. "Buddhism and Cultural Heritage in the Memorialization of the Hiroshima Bombing: The Art and Activism of Hirayama Ikuo." Religions 13, no. 2 (February 5, 2022): 146. http://dx.doi.org/10.3390/rel13020146.
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Debates on the memorialization of the atomic bombing of Hiroshima have played an essential role in the construction of postwar Japanese identity, public memory, and historical consciousness. Religion, often conceived beyond traditional terms through concepts such as “spirituality” and “heritage”, was part of this process. This article examines the role of Buddhism in the autobiographical and visual narratives of the atomic bomb survivor Hirayama Ikuo, who expressed his personal trauma through art, turning it into a call for peace and for the preservation of the cultural heritage of the Silk Road, associated with the spread of Buddhism. Using recent critical approaches to heritage studies, I will show how the heritagization of Buddhism in Hirayama’s work does not preclude the sacralization of aspects of Silk Road heritage. Placing Hirayama’s approach to the nuclear bombing in the context of postwar discourses on Japan as a peaceful “nation of culture”, I will also problematize his view of Buddhism and the Silk Road by showing how similar views were used in support of imperialism in the prewar period.
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Pacey, Philip. "The universal availability of art publications: a global context." Art Libraries Journal 10, no. 3 (1985): 7–31. http://dx.doi.org/10.1017/s0307472200004260.
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‘Universal Availability of Publications’ (UAP) and the universal availability of art publications should be considered in the context of ‘one world’, a world in which we all share responsibility for our fellow human beings. In this context both librarianship and art, and thus art librarianship also, should be seen as services rendered to humankind at large. IFLA’s UAP programme has been conceived as a service, intended to supply genuine human needs, and art librarians, who are constantly frustrated in their efforts to serve users of art libraries by the limitations to the availability of art documentation, can readily identify a need for ‘Universal Availability of Art Publications’. Nevertheless, a worldwide programme of this nature is in danger, first, of being pursued for its own sake (or for the sake of ‘needs’ which are imagined, over-emphasised, or misconceived), and second, of reinforcing cultural imperialism. Safeguards include acceptance of the necessity to proceed step by step in pursuit of a success which can never be complete; the fact that UAP is founded on local collections developed to meet local needs; recognition of the imbalance in the production of publications in different parts of the world; and recognition of the importance of unpublished documentation and of ‘publications’ which do not as yet exist. A greater emphasis on increasing the availability, and generating the production, of publications from countries which publish relatively little, is proposed. A fourth safeguard ought to derive from the professional ethics and grass-roots experience of librarians, who serve and identify with library users, actual and potential. The pursuit of universal availability of art publications should be based on realistic assessment of what is feasible, and on local, regional, and national resources, with all possible encouragement being given to developing countries to document their own arts. Art librarians may be paying too little attention to the needs of users and, especially, of non-users of art libraries, and should be aware of the barriers to availability which can result from the prevalence of a narrow, elitist conception of ‘Art’ and from the provision of library services primarily for an elite. Without neglecting the service of scholarship, the art library profession should try to shift the balance of its commitment towards the provision of a service for everyone, everywhere, so that our interpretation and pursuit of the ‘Universal Availability of Art Publications’ truly reflects a vision of our whole world’s heritage and practice ‘of divers arts’.This is the text of a paper presented to the Section of Art Libraries, at the 1985 IFLA Council in Chicago.
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Dimković, Danijela Miodrag. "Creativity of Dragutin Inkiostri as the Text of the Cultural Identity of the Balkans." South East European Journal of Architecture and Design 2016 (March 2, 2016): 1–8. http://dx.doi.org/10.3889/seejad.2016.10015.
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AIM: This article is directly addressing to various aspects of the folklore heritage, postcolonial studies and their influence on the development of the national idea and creating a national culture that participates in the of cultural identity.METHODS: Home premise is that some models of colonial discourse considered in the theoretical concept of postcolonial studies, are being reflective on the Balkans as well. The tradition which constitutes of culture and art, as well as a selection of different practices, meanings, gender, class and racial identification. Perceiving the intangible cultural heritage, folk culture as the context of social and cultural development of contemporary cultural policy, art production and development of the creative sector.RESULTS: This kind of problematization seems necessary and appears as a form of reaction to the emergence of globalization, post-colonialism, imperialism, and similar forms of government which are based on various power relations as an increasingly intense process of continually pose challenges to understanding and redefining their own heritage in the context of finding a national, cultural and Balkan identity.CONCLUSION: In this context, creativity of Dragutin Inkiostri Medenjak (1866) during the late nineteenth and early twentieth century is being imposed as an appropriate choice for argument of the initial thesis.