Crossing Cultures: Conflict, Migration and Convergence - The Proceedings of the 32nd International Congress of the History of Art (Academic Monographs)

Description

A compliation of the conference papers from the 32nd International Congress in the History of Art organised by the International Committee of the History of Art (CIHA). CROSSING CULTURES: CONFLICT, MIGRATION AND CONVERGENCE is an in-depth examination of the effect of globalism on art and art history. Covering all aspects of art-including traditional media, painting, sculpture, architecture and the crafts, as well as design, film, visual performance and new media-it explores the themes of conflict, migration and convergence in the visual, symbolic and artistic exchanges between cultures throughout history. Crossing Cultures is a compliation of the conference papers from the 32nd International Congress in the History of Art organised by the International Committee of the History of Art (CIHA), edited by conference convenor Professor Jaynie Anderson. This volume contains more than 200 papers presented at the congress by art historians from twenty-five countries, including Homi K Bhabha (Harvard University), Michael Brand (Director of the John Paul Getty Museum, Los Angeles), Marcia Langton (Chair of Australian Indigenous Studies, University of Melbourne), Ronald de Leeuw (Director of the Rijksmuseum, Amsterdam), Neil McGregor (Director of the British Museum, London) and Ruth B Phillips (Canada Research Chair in Modern Culture and Professor of Art History, Carleton University, Ottawa). Never before has the state of art history in our polycentric world been demonstrated so well. Crossing Cultures encourages fresh thinking about global art history. Title Copyright Contents Preface 1 A Melbourne Conversation at the Town Hall on Art, Migration and Indigeneity: What Happens when Cultures Meet? 1 An Introduction to the Conversation 2 Playing between the Lines: The Melbourne Experience of Crossing Cultures 3 Art in Transit: Give and Take in Dutch Art 4 Found in Translation 5 Home and Away: Works of Art as Citizens and Migrants 6 The Travels of a Mi’kmaq Coat: A Nineteenth-Century World Art History and Twenty-First-Century Cultural Politics 2 Creating Perspectives on Global Art History 7 Joe Burke’s Legacy: The History of Art History in Melbourne 8 The Art of Being Aboriginal 9 On Global Memory: Reflections on Barbaric Transmission 3 Art Histories in an Interconnected World:Synergies and New Directions 10 Beyond the National, inside the Global: New Identity Strategies in Asian Art in the Twenty-First Century 11 Not Just Images but Art: Pragmatic Issues in the Movement towards a More Inclusive Art History 12 The World at Stake: CIHA after Melbourne 13 Global Collections for Global Cities 4 The Idea of World Art History 14 Introduction 1 15 Introduction 2 Methodological and Ideological Perspectives 16 Neuroarthistory as World Art History: Why Do Humans Make Art and Why Do They Make It Differently in Different Times and Places? 17 Towards Horizontal Art History 18 Global Aspects on Johnny Roosval’s Concept of the 19 Putting the World in a Book: How Global Can Art History Be Today? Empirical Perspectives 20 From Ideology to Universal Principles: Art History and the Visual Culture of the Balkans in the Ottoman Empire 21 From Nation via Immigration to World Art: Concepts and Methods of Brazilian Art Theory 22 Universalism and Utopia: Joseph Beuys and Alighiero Boetti as Case Studies for a World Art History 23 Genius Loci: The Revenge of the Good Savage? 24 A Survey of the Current State of Art History in China 25 Recent Study in Ancient Chinese Art History in China 26 Objects without Borders: Cultural Economy and the World of Artefacts 5 Fluid Borders: Mediterranean Art Histories 27 Fluid Borders, Hybrid Objects: Mediterranean Art Histories 500–1500, Questions of Method and Terminology 28 Building Identities: Fluid Borders and an ‘International Style’ of Monumental Architecture in the Bronze Age 29 Byzantine Art in Italy: Sixth-Century Ravenna as a Matrix of Confluence? 30 ‘Image-Paradigms’ as a Category of Mediterranean Visual Culture: A Hierotopic Approach to Art History 31 The ‘Golden Age’ in Al-Andalus as Remembered, or How Nostalgia Forged History 32 Fluid Picture-Making across Borders, Genres, Media: Botanical Illustration from Byzantium to Baghdad, Ninth to Thirteenth Centuries 33 Greek Painters Working for Latin and Non-Orthodox Patrons in the Late Medieval Mediterranean: Some Preliminary Remarks 34 Sailing through Time and Space: How Cyriacus of Ancona Rediscovered the Classical Past 35 Multi-Ethnic Rome and the Global Renaissance: Ethiopia, Armenia and Cultural Exchange with Rome during the Fifteenth Century 6 Hybrid Renaissances in Europe and Beyond 36 Introduction 37 Hybrid Renaissance in Burgundy 38 Heterotopia in the Renaissance: Modern Hybrids as Antiques in Bramante and Cima da Conegliano 39 ‘Gran Cosa è Roma’: The Noble Patronage of Architecture in Early Sixteenth-Century Portugal 40 A Bastard Renaissance? Benedikt Ried, Master IP and the Question of Renaissance in Central Europe 41 Difference, Repetition and Utopia: Early Modern Print’s New Worlds 42 The Carnivalesque Renaissance 43 ‘Opinione Contraria’: The Anatomy of Pathos in an Early Drawing by Rosso Fiorentino 44 The Hermaphrodite in the Garden 45 Reframing the Renaissance Problem Today: Developing a Pluralistic Historical Vision 46 Do We Still Need a Renaissance? 7 Cultural and Artistic Exchange in the Making of the Modern World, 1500–1900 47 Introduction 48 Cultures and Curiosity 49 Human Sacrifice as Symbolic Capital: Images of the Violated Aztec Body for a Changing World, 1500–1900 and Beyond 50 Public Identity and Material Culture in Dutch Batavia 51 ‘Exposure to Your Ways’: China, the Dutch and Early Modern Vision 52 The Global Rembrandt 53 Images of Bathing Women in Early Modern Europe and Turkey 54 Global Encounters: Conventions and Invention in Hans Burgkmair’s Images of Natives of Africa, India and the New World 55 Patterns of Domestication: Exotic Animals, Plants and People in Australian and European Decorative Arts 56 Dressing Up like the Cannibals? Adriaen Hanneman’s Portrait of Princess Mary Stuart in a Tupi Feather Cape 57 Tupi Featherwork and the Dynamics of Inter cultural Exchange in Early Modern Brazil 58 The Visual Subplot: Local Art, Global Trade and the Socio-Ethics of Exchange, Amsterdam 1580–1680 59 Visual Elaborations: Fausto Zonaro’s ‘Ottoman’ Self-Portraits 60 The Brush and the Burin: Mogul Encounters with European Engravings 61 Imperial Exchanges of Goods and National Identities: Victorian and Swadeshi Views of Crafts under the Raj 62 ‘A Glance into a New World’: Three Approaches to Japan, by Christopher Dresser, Siegfried Bing and Justus Brinckmann 63 George French Angas: Colonial Artist at Large 64 The Wanderer, the Slave and the Aboriginal: Augustus Earle in Rio de Janeiro and Sydney in the 1820s 65 Exchange, Gifting, Identity and Writing History in Fin-de-Siècle Tahiti 8 Representations of Nature across Cultures before the Twentieth Century 66 Introduction 67 Capturing Nature’s Inner Truth: The ‘True-View’ Concept in China, Korea and Japan 68 Beauty and Truth in Nature: Japan and the West 69 Landscape as Placeness in the Art of India 70 Exoticism at Home: The Artist as Explorer in Nineteenth-Century Sweden 9 The Sacred across Cultures 71 Introduction 72 Plato’s Dilemma: Art, Religion and Amnesia 73 ‘Strangers in a Strange New Land’: How the Immigrant, the Coloniser and the Conqueror Used Sacred Architecture to Establish Identity 74 Holy Topographies: Aboriginal Art from the Desert Regions and Its Spiritual Relation to Western Perceptual Painting 75 Visualising Ancestor Spirits: Name Tablets or Portraits? 76 Houses of God, Gates of Heaven, Doors of Grace: Changes in Perception of Lutheran Church Interiors as ‘Holy Places’ 77 Secular Florentines and Sacred Images 78 ‘God Is Love’: Representations of Christianity in Indigenous Art from Ngukurr, South-East Arnhem Land 79 Sacred Country: Ancient Footprints, New Pathways 80 A New Conceptualisation of Australian Religious Iconography: The Case of David Wright 81 From Silence to Multiple Incorporation: Art and Afro-Brazilian Religions 82 Trees Growing in the Wilderness and Statues of Miracle-Working Madonnas 83 A Case of Spiritual Colonisation? The Production and Reception History of a Contentious Altarpiece in Jukkasjärvi Church in Lapland, Sweden 84 Chartres, Chichester and Ajanta: The Neo-Medievalism of Eric Gill 85 A Pantheon Rediscovered? 86 Sanctity at the Interstices of Fine Art and Popular Culture: The Case of Ester Helenius 87 Intersections of Time and Place in Books of Hours 88 A Form of Succession 89 A New Plague Saint for Renaissance Italy: Suffering and Sanctity in Narrative Cycles of Saint Roch 90 Sites of Convergence and Divergence: Private Devotional Sites in Seventeenth-Century Rome 10 Materiality across Cultures 91 Introduction 92 Lapis Lazuli: Moving Stones at the Heart of Power 93 Materials, Origins and the Nature of Early Italian Painting 94 Routes and Meaning: The Use of Red Marble in Medieval Central Europe 95 Alabastrum Effoditur Pulcherrimum and Candissimum: The Influence of Imported Southern Netherlandish Sculpture on the Reception of Alabaster in Central Europe in the Sixteenth Century 96 Mosaic Dreaming: Materiality, Migration and Memory 97 Outsiders’ and Arnhem Landers’ Material Exchanges 98 Painting Practice in the Philippines: Two Institutionalised Practices and Their Materials and Techniques 99 A Convergence of Cultures: Max Meldrum’s Art Theory and Practice 100 The Gamelan: Melding Conservation Issues with Javanese Spiritual Beliefs 11 Memory and Architecture 101 Introduction 102 Multiple Memories: Lives of the Taj Mahal 103 The Alhambra in Granada and the Memory of Its Islamic Past 104 Curzon, Kedelston and Government House, Calcutta 105 Remembering the Middle Ages: Responses to the Gothic Revival in Colonial New Zealand 106 Travelling within Memory: Vicarious Travel and Imagined Voyages 107 Moving Finnish Houses: The Knowledge of Objects in Former Finnish Karelia 108 Nation, Style, Memory: The Cracow Experience 109 Komar and Melamid: The Future Memory of International Modernism 110 Traces of Utopia: On the Architectural Renderings Published in 111 Marks and Rembrancers: Alison and Peter Smithson’s Architectural Memory 112 A Strange Case of Cultural Borrowing: The Australian Pavilion at Expo ’70, Osaka 113 Analogous Landscapes 12 Art and Migration 114 Introduction 115 Migration of Elements of Islamic Art into Italy from Spain and the Balearic Islands in the Fourteenth Century 116 Mahmud al-Kurdi and His Italian Customer 117 The Gypsies and Their Impact on Fifteenth-Century Western European Iconography 118 The École de Paris, Inside and Out: Reconsidering the Experience of the Foreign Artist in Interwar France 119 Polish Artists in France 1918–39: The Discussion Concerning National Art 120 Koji Kamoji: A Bridge between Haiku and Christian Mysticism 121 The Role of International Exhibitions in the Diffusion of a Global Memory 122 Displaced Objects, Objects in Exile? Changing Virtues of Cameroon Objects in the West 123 Landscapes of Imagination: Migration and Place in Contemporary Iranian Art 124 Moving Pictures: Art, Ireland and Migration 125 Multiplicity of Artistic Migration in the Representation of Return: The Odyssey, Hebdomeros and Postmodernity in the Art of Giorgio de Chirico 13 Art and War 126 Introduction 127 Bartholomäus Strobel the Younger and the Thirty Years War 128 Landscape and the Memory of War 129 Vasily Vereshchagin’s Campaign: Colonial War and Representations of Russia’s Others 130 Feature Films and the Shock of the Real: Regarding Wartime Documents in Art-House Cinema and Beyond 131 Surviving War: Uniting the Nation in Postwar Finnish Mural Paintings 132 Complicities: Abu Ghraib, Contemporary Art and the Currency of Images 133 Pyrotechnics: From War to Art and Back 134 Beauty and Horror: Identity and Conflict in the War Carpets of Afghanistan 135 Media/ting Conflict: Iranian Posters of the Iran–Iraq War 136 Art in the Face of ‘the Project for the New American Century’: A Postmodern Rake’s Progress 14 Art and Clashing Urban Cultures 137 Introduction 138 Manet’s Le Déjeuner sur l’herbe: Resisting the Parisian ‘Non-Place’ during Haussmannisation 139 Air Travel and Omnipresent Disaster 140 Changing Politics, Changing City scapes: Redesigning, Redefining and Contesting Public Space in Post-Communist Central Europe 141 Redfern Resistance 142 Urban Bush Bashing? Some Indigenous Artists’ Responses to the Australian Government’s Emergency Intervention in the Northern Territory 15 Global Modern Art: The World Inside Out and Upside Down 143 Introduction 144 Art and Nation: To Rome and Back 145 ‘That Arid Feeling for the Burnt Bush’: Giorgio de Chirico’s Wandering Jew, Metaphysical Painting and ‘Semitic Atavism’ 146 Wounded: Lucio Fontana’s Wartime Sculpture in Italy and Argentina 147 Surrealism in the Antipodes: On James Gleeson’s Exile 148 From Constructivism to Pop: Avant-Garde Practices in Brazil, Britain and North America between the 1950s and 1960s 149 Picasso’s Guernica in Latin America 150 ‘Much More than Parrots and Banana Trees’: The Art of Hélio Oiticica in the 1960s 151 ‘From Río del Plata to the Seine’ and Back: Pierre Restany and Damián Bayón 152 Our Old Koroua Picasso: Maori Modernist Art in Aotearoa New Zealand 153 Pilgrimage and Periphery: Robert Smithson’s Spiral Jetty and the Discourse of Tourism 16 Indigeneity/Aboriginality, Art/Culture and Institutions 154 Introduction 155 Belonging and Homelands: Negotiating Identity in Aotearoa, New Zealand 156 Between the Indigenous and the Exotic: Landscapes of Hokkaido and the Russian Far East 157 The Reclamation of South-East Australian Aboriginal Arts Practices 158 Indigenous Material Culture in the Digital Age 159 ‘My Art Talks about Link’: The Per egrinations of Yolngu Art in a Globalised World 160 Performing Landscape and Memory: Gija Local and Global Art Circulation 161 Postcolonial Pasts and Post-Indigenous Futures? A Critical Genealogy of Museums and ‘Maori Art’ 162 Indigeneity and the Museum Paradigm: Contexts and Debates Surrounding the Opening Ceremonies and Exhibitions at the National Museum of the American Indian in Washington, DC, September 2004 163 A Crisis of Identity: Australian Indigenous Culture, Primitivism and Modernism in ‘Recent Australian Painting’ at the Whitechapel Art Gallery, 1961 164 Circuit Breaking? Indigenous Australian Art and Critical Discourse 165 Aboriginalities and Nationalities: Shaping Art History in the Postcolonial Museum 17 Parallel Conversions: Asian Art Histories in the Twentieth and Twenty-First Centuries 166 Introduction 167 The Concept of ‘Art’ in Japan and International Expositions of the Meiji Period 168 Takeuchi Seihō, Chigusa Sōun, and John Ruskin’s Modern Painters: Reconciling Realism with Japanese Painting, 1900–1910 169 Amrita Sher-Gil: Transformation of the Pre-Modern to the Modern in Early Twentieth-Century Indian Art 170 Global Consciousness in Yōga Self-Portraiture 171 Realism as a Tool of National Modernisation in the Reformist Discourse of Late Nineteenth- and Early Twentieth-Century China 172 New Categories, New History: ‘The Preliminary Exhibition of Chinese Art’ in Shanghai, 1935 173 Alternative Fashion Histories: Sartorial Modernity in East Asia 174 The Impact of Censorship, Conflict and the Diaspora on Vietnamese Art History 175 Contending with Present Pasts: On Developing South-East Asian Art Histories 176 Picturing Early Twentieth-Century Sino-Japanese Art Relations in Ōmura Seigai’s ‘Shina Rekiyū Dan’: An Account of Making Art History in the 1920s 177 Why Realism? From Social Realism to Neo-Realism in Modern Chinese Art 178 Interconnectedness of Performance Art Festivals across and beyond Asia 179 Shanghai Dream-Theatre: (Re-)Imagining the City, the Conditions of Existence and the New Shanghai Surreal 180 The Artist as Image Decoder: Ni Haifeng’s Agency between Europe and China 181 Art Histories at the Crossroads: ‘Asian’ Art in Australia 182 A Kiss to Matisse: Strategies for Histories of Modernism in Central Asia. Uzbekistan in the 1920s, Kazakhstan in the 1980s–1990s 183 Constructing Transnational Identities: Paik Nam June and Lee Ufan 18 Contemporaneity in Art and Its History 184 Introduction 185 Writing the History of Contemporary Art: A Distinction, Three Propositions and Six Lines of Inquiry 186 Historicity and Aboriginal Art: How Long Will It Take for Aboriginal Art to Become Modern? 187 Contemporaneity in Inuit Art through the Twentieth and Early Twenty-First Centuries 188 Topographies of Chance: Tracing the ‘Contemporary’ in 1960s France 189 Periodising Contemporary Art 190 Global Visions, Local Contemporaneity: Video Art in Australia 191 The Atlas Effect: Constraint, Freedom and the Circulation of Images 192 On the ‘Evental’ Installation: Contemporary Art and Politics of Presence 19 New Media across Cultures 193 Introduction 194 Old Traces on a New Body 195 Transience: Indigenous, Settler and Migrant Media 196 Imagining the Future: Issues in Writing and Researching Art’s Histories in a Digital Age with the DAAO 197 Painting as New Medium: The Reversed Canvas in Colonial Art 198 The Fiction of Art History: Imaginary Provenances for Media Arts in South Asia 20 Economies of Desire: Art Collecting and Dealing across Cultures 199 Introduction 200 The Impact of Unscrupulous Dealers on Sustainability in the Australian Aboriginal Desert Paintings Market: A View from the High End 201 A Fine Romance: White Money, Black Art 202 The Paradox of Collecting the ‘Other’: Percy Grainger’s Collecting of Non-Western Cultures 203 Art Dealing as Medium of Cultural Transfer 204 Crossing Thresholds: The Hybrid Identities of Late Nineteenth-Century Art Dealers 205 Small Mirrors to Large Empires: Towards a Theory of Meta-Museums in Contemporary Art 206 Framing Fusion: Varieties of Collecting and Display at the Museo Poldi Pezzoli, Milan 207 On Art Collecting in Argentina, or How the Pre-Columbian Past Became an Object of Desire 21 New Museums across Cultures 208 Introduction 209 The Modern Museum in China 210 The Uncanny Space of Daniel Libeskind’s Jewish Museum 211 New Museums: Institutionalisation of Contemporary Art in Central Europe. Crossing Inspirations 212 Problematics of Postcolonial Dislocation in the Case of the National Museum of Contemporary Art in Bucharest 213 Out of Context: Towards Presentation of Japanese Art in Western Museums 214 Constructing Tribal Architectures and Identities in Native American Museums and Cultural Centres 215 Creating Cultural Citizenship out of Contemporary Art at the National Museum of the American Indian? 216 The Cosmopolitan Museum (of Art) 22 Repatriation 217 Introduction 218 Art History and Repatriation: A Case of Mutual Illumination? 219 Shrewd Calculations 220 Repatriating Sanctity, or How the Dukes of Bavaria Rescued Saints during the Reformation 221 Alexander Neumann (Bielitz 1861 – Wellington 1947): Portfolio in Exile 222 Repatriation Ante Patria: Repatriating for Tibet 223 Returning Veronese’s The Wedding at Cana to Venice: Some Issues Concerning Originality and Repatriation 224 Arbitration and Mediation as Alternative Resolution Mechanisms in Disputes Relating to the Restitution of Cultural Property Index of Authors