With globalisation steadily reshaping the cultural landscape, scholars have long called for a full-scale reassessment of art history's largely Eurocentric framework. This collection of case studies and essays, the latest in the Clark Studies in the Visual Arts series, brings together voices from various disciplinary and theoretical backgrounds, each proposing ways to remap, decentre and reorient what is often assumed to be a unified field.

With globalization steadily reshaping the cultural landscape, scholars have long called for a full-scale reassessment of art history's largely Eurocentric framework. This collection of case studies and essays, the latest in the Clark Studies in the Visual Arts series, brings together voices from various disciplinary and theoretical backgrounds, each proposing ways to remap, decenter, and reorient what is often assumed to be a unified field. Rather than devise a one-size-fits-all strategy for what has long been a divided and disjointed terrain, these authors and artists reframe the inherent challenges of the global--most notably geographic, political, aesthetic, and linguistic differences--as productive starting points for study. As the book demonstrates, approaching art history from such alternative perspectives rewrites some of the most basic narratives, from the origins of representation to the beginnings of the "modern" to the very history of globalization and its effects. Distributed for the Sterling and Francine Clark Art Institute

A ground-breaking new anthology in the Art in Theory series, offering an examination of the changing relationships between the West and the wider world in the field of art and material culture Art in Theory: The West in the World is a ground-breaking anthology that comprehensively examines the relationship of Western art to the art and material culture of the wider world. Editors Paul Wood and Leon Wainwright have included over 350 texts, some of which appear in English for the first time. The anthologized texts are presented in eight chronological parts, which are then subdivided into key themes appropriate to each historical era. The majority of the texts are representations of changing ideas about the cultures of the world by European artists and intellectuals, but increasingly, as the modern period develops, and especially as colonialism is challenged, a variety of dissenting voices begin to claim their space, and a counter narrative to western hegemony develops. Over half the book is devoted to 20th and 21st century materials, though the book’s unique selling point is the way it relates the modern globalization of art to much longer cultural histories. As well as the anthologized material, Art in Theory: The West in the World contains: A general introduction discussing the scope of the collection Introductory essays to each of the eight parts, outlining the main themes in their historical contexts Individual introductions to each text, explaining how they relate to the wider theoretical and political currents of their time Intended for a wide audience, the book is essential reading for students on courses in art and art history. It will also be useful to specialists in the field of art history and readers with a general interest in the culture and politics of the modern world.

Presents a clear and comprehensive introduction to the evolving discipline of global art studies This volume examines how art historians, critics, and artists revisit art from ancient times through to the early modern period as well as the ways in which contemporary objects are approached through the lens of global contact, exchange, networks, and trade routes. It assists students who actively seek to understand "global art history" and the discipline beyond the founding Western canons. The first section of Art History in a Global Context: Methods, Themes and Approaches explores how themes related to globalization are framing the creation, circulation, reception, and study of art today. The second section examines how curators, scholars, artists, and critics have challenged the Eurocentric canon through works of art, writings, exhibitions, biennials, large-scale conferences, and the formation of global networks. The third section is designed to help students look forward by exploring how art history in a global context is beginning to extend beyond the contemporary condition to understand the meaning, conditions, and impacts of exchange across borders and among artists in earlier periods. Presents a historiography of global art histories in academic, museological, and exhibition projects Written by a collection of authors from different linguistic, cultural, geographic, generational, and disciplinary perspectives Aids students in understanding "global art history" and the discipline beyond the founding Western canons Provides a set of case studies to bring to life methodologies being employed in the field Features contributors from the program of the Getty Foundation and the College Art Association International Committee's project Art History in a Global Context is an ideal choice for upper-level undergraduate and entry level graduate art students. It can also be used as a teaching tool, or as models for case studies in different formats.

In and Out of View models an expansion in how censorship is discursively framed. Contributors from diverse backgrounds, including artists, art historians, museum specialists, and students, address controversial instances of art production and reception from the mid-20th century to the present in the Americas, Africa, Asia, Europe, and the Middle East. Their essays, interviews, and statements invite consideration of the shifting contexts, values, and needs through which artwork moves in and out of view. At issue are governmental restrictions and discursive effects, including erasure and distortion resulting from institutional policies, canonical processes, and interpretive methods. Crucial considerations concerning death/violence, authoritarianism, (neo)colonialism, global capitalism, labor, immigration, race, religion, sexuality, activism/social justice, disability, campus speech, and cultural destruction are highlighted. The anthology-a thought-provoking resource for students and scholars in art history, museum and cultural studies, and creative practices-represents a timely and significant contribution to the literature on censorship.

Deploying interdisciplinary theoretical perspectives that speak to interconnected global dimensions is critical if one’s work is to remain relevant and applicable to the emerging global-scale issues of our time. The Global Turn is a guide for students and scholars across all areas of the social sciences and humanities who wish to embark upon global-studies research projects. The authors demonstrate how the global can be studied from a local perspective and vice versa. Global processes manifest at multiple transnational, regional, national, and local levels—interconnected dimensions that are mutually constitutive. This book walks the reader through the steps of thinking like a global scholar in theoretical, methodological, and practical terms, explaining the implications of global perspectives for research design.

This volume features new research on Russia’s historic relationship with Asia and the ways it was mediated and represented in the fine, decorative and performing arts and architecture from the mid-eighteenth century to the first two decades of Soviet rule. It interrogates how Russia’s perception of its position on the periphery of the west and its simultaneous self-consciousness as a colonial power shaped its artistic, cultural and national identity as a heterogenous, multi-ethnic empire. It also explores the extent to which cultural practitioners participated in the discursive matrices that advanced Russia’s colonial machinery on the one hand and critiqued and challenged it on the other, especially in territories that were themselves on the fault lines between the east and the west.