Literatur in unserem Bestand
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Anderson, Jaynie (Hg.): Crossing Cultures: Conflict, Migration and Convergence. The Proceedings of the 32nd International Congress in the History of Art, The University of Melbourne, 13-18 January 2008, The Miegunyah Press, Carlton 2009, ISBN 9780522855005 (vorhanden sind die Kapitel 2, 4, 8, 11, 74, 78, 79, 96, 97, 141, 142, 157, 158, 159, 160, 164, 186, 200 und 201<9

Inhaltsverzeichnis        ¦         Klappentext        ¦         Besprechung⁄Abstract

Inhaltsverzeichnis

I. A Melbourne Conversation at the Town Hall on Art, Migration and Indigeneity: What Happens when Cultures Meet?

1 Gerard Vaughan, Director of the NationalGallery of Victoria; Melbourne: An Introduction to the Conversation -2-

2 Jaynie Anderson, University of

Melbourne: Playing between the Lines: The Melbourne Experience of Crossing Cultures -4-

3 Ronald de Leeuw, Director of the Rijksmuseum, Amsterdam: Art in Transit: Give and Take in Dutch Art -10-

4 Howard Morphy, Australian National University, Canberra: Found in Translation -18-

5 Michael Brand, Director of the John Paul Getty Museum, Los Angeles: Home and Away: Works of Art as Citizens and Migrants -21-

6 Ruth B Phillips, Carleton University, Ottawa: The Travels of a Mi’kmaq Coat: A Nineteenth-Century World Art History and Twenty-First-Century Cultural Politics -26-

II. Creating Perspectives on Global Art History

7 Andrew Grimwade, Chairman of the Felton Bequest and Life Member of the Miegunyah Fund: Joe Burke’s Legacy: The History of Art History in Melbourne -32-

8 Marcia Langton, University of

Melbourne: The Art of Being Aboriginal -35-

9 Homi K Bhabha, Harvard University: On Global Memory: Reflections on Barbaric Transmission -46-

III. Art Histories in an Interconnected World: Synergies and New Directions

10 John Clark, University of Sydney: Beyond the National, inside the Global: New Identity Strategies in Asian Art in the Twenty-First Century -58-

11 Howard Morphy, Australian National University, Canberra: Not Just Images but Art: Pragmatic Issues in the Movement towards a More

Inclusive Art History -60-

12 Jaynie Anderson, University of Melbourne: The World at Stake: CIHA after Melbourne

-63-

13 Neil McGregor, Director of the British Museum, London: Global Collections for Global Cities -65-

IV. The Idea of World Art History

14 Thomas DaCosta Kaufmann,

Princeton University: Introduction 1 -72-

15 Peter J Schneemann, Institut für Kunstgeschichte, Bern: Introduction 2 -75-

Methodological and Ideological Perspectives

16 John Onians, University of East Anglia, Norwich: Neuroarthistory as World Art History: Why Do Humans Make Art and Why Do They Make It Differently in Different Times and Places? -78-

17 Piotr Piotrowski, Adam Mickiewicz, University Poznan: Towards Horizontal Art History

-82-

18 Jan von Bonsdorff, Uppsala University: Global Aspects on Johnny Roosval’s Concept of the Artedominium -86-

19 Parul D Mukherji, Jawaharlal Nehru, University, New Delhi: Putting the World in a Book: How Global Can Art History Be Today? -91-

Empirical Perspectives

20 Nenad Makuljevic, University of Belgrade: From Ideology to Universal Principles: Art History and the Visual Culture of the Balkans in the Ottoman Empire -98-

21 Jens Baumgarten, Universidade Federal de São Paulo: From Nation via Immigration to World Art: Concepts and Methods of Brazilian Art Theory -104-

22 Nicola Müllerschön, Institut für Kunstgeschichte, Bern: Universalism and Utopia: Joseph Beuys and Alighiero Boetti as Case Studies for a World Art History -111-

23 Carmen Popescu, André Chastel Research Centre, Paris, and New Europe College, Bucharest: Genius Loci: The Revenge of the Good Savage? -116-

24 Shao Dazhen, Central Academy of Fine Arts, Beijing: A Survey of the Current State of Art History in China -121-

25 Yan Zheng, Central Academy of Fine Arts, Beijing: Recent Study in Ancient Chinese Art History in China -124-

26 Jennifer Purtle, University of Toronto: Objects without Borders: Cultural Economy and the World of Artefacts -127-

V. Fluid Borders: Mediterranean Art Histories

27 Gerhard Wolf, Kunsthistorisches Institut, Florence: Fluid Borders, Hybrid Objects: Mediterranean Art Histories 500-1500, Questions of Method and Terminology -134-

28 Louise A Hitchcock, University of Melbourne: Building Identities: Fluid Borders and an ‘International Style’ of Monumental Architecture in the Bronze Age -138-

29 Felicity Harley McGowan, University of Melbourne: Byzantine Art in Italy: Sixth-Century Ravenna as a Matrix of Confl uence? -144-

30 Alexei Lidov, Research Centre for Eastern Christian Culture, Moscow: ‘Image-Paradigms’ as a Category of Mediterranean Visual Culture: A Hierotopic Approach to Art History -148-

31 Avinoam Shalem, University of Munich and Kunsthistorisches Institut, Florence: The ‘Golden Age’ in Al-Andalus as Remembered, or How Nostalgia Forged History -154-

32 Alain Touwaide, National Museum of Natural History, Smithsonian Institution, Washington, DC: Fluid Picture-Making across Borders, Genres, Media: Botanical Illustration from Byzantium to Baghdad, Ninth to Thirteenth Centuries -159-

33 Michele Bacci, University of Siena: Greek Painters Working for Latin and Non-Orthodox Patrons in the Late Medieval Mediterranean: Some Preliminary Remarks -164-

34 Marina Belozerskaya, independent scholar, Los Angeles: Sailing through Time and Space: How Cyriacus of Ancona Rediscovered the Classical Past -169-

35 Christiane Esche-Ramshorn, University of Cambridge: Multi-Ethnic Rome and the Global Renaissance: Ethiopia, Armenia and Cultural Exchange with Rome during the Fifteenth Century -173-

VI. Hybrid Renaissances in Europe and Beyond

36 Luke Morgan, Monash University, Melbourne, and Philippe Sénéchal, University of Picardy, Amiens: Introduction -180-

37 Frédéric Elsig, University of Geneva: Hybrid Renaissance in Burgundy -182-

38 Lorenzo Pericolo, Université de Montréal: Heterotopia in the Renaissance: Modern Hybrids as Antiques in Bramante and Cima da Conegliano -186-

39 ‘Luísa França Luzio, Institute of Art History, UNL-FCSH, Lisbon: Gran Cosa è Roma’: The Noble Patronage of Architecture in Early Sixteenth-Century Portugal -192-

40 Pavel Kalina, Czech Technical University, Prague: A Bastard Renaissance? Benedikt Ried, Master IP and the Question of Renaissance in Central Europe -199-

41 Christopher P Heuer, Princeton University: Difference, Repetition and Utopia: Early Modern Print’s New Worlds -203-

42 John Gregory, Monash University, Melbourne: The Carnivalesque Renaissance -209-

43 Vivien Gaston, University of Melbourne: ‘Opinione Contraria’: The Anatomy of Pathos in an Early Drawing by Rosso Fiorentino -216-

44 Luke Morgan, Monash University, Melbourne: The Hermaphrodite in the Garden -222-

45 Claire Farago, University of Colorado, Boulder: Reframing the Renaissance Problem Today: Developing a Pluralistic Historical Vision -227-

46 Keith Moxey, Barnard College, Columbia University, New York: Do We Still Need a Renaissance? -233-

VII. Cultural and Artistic Exchange in the Making of the Modern World, 1500-1900

47 Larry Silver, University of Pennsylvania, Philadelphia, and Charles Zika, University of Melbourne: Introduction -240-

48 Larry Silver, University of Pennsylvania, Philadelphia: Cultures and Curiosity -242-

49 Cecilia F Klein, University of California, Los Angeles: Human Sacrifi ce as Symbolic Capital: Images of the Violated Aztec Body for a Changing World, 1500-1900 and Beyond -247-

50 Dawn Odell, Lewis and Clark College, Portland: Public Identity and Material Culture in Dutch Batavia -253-

51 Julie Hochstrasser, University of Iowa: ‘Exposure to Your Ways’: China, the Dutch and Early Modern Vision -258-

52 Catherine B Scallen, Case Western Reserve University, Cleveland: The Global Rembrandt -263-

53 Patricia Simons, University of Michigan: Images of Bathing Women in Early Modern Europe and Turkey -267-

54 Ashley West, University of Pennsylvania, Philadelphia: Global Encounters: Conventions and Invention in Hans Burgkmair’s Images of Natives of Africa, India and the New World -272-

55 Dagmar Eichberger, University of Heidelberg: Patterns of Domestication: Exotic Animals, Plants and People in Australian and European Decorative Arts -279-

56 Rebecca Parker Brienen, University of Miami: Dressing Up like the Cannibals? Adriaen Hanneman’s Portrait of Princess Mary Stuart in a Tupi Feather Cape -285-

57 Amy J Buono, Southern Methodist University, Dallas: Tupi Featherwork and the Dynamics of Inter cultural Exchange in Early Modern Brazil -291-

58 Elisabeth de Bièvre, independent scholar, UK: The Visual Subplot: Local Art, Global Trade and the Socio-Ethics of Exchange, Amsterdam 1580-1680 -296-

59 Mary Roberts, University of Sydney: Visual Elaborations: Fausto Zonaro’s ‘Ottoman’ Self-Portraits -300-

60 Yael Rice, University of Pennsylvania, Philadelphia: The Brush and the Burin: Mogul Encounters with European Engravings -305-

61 Julie Codell, Arizona State University, Tempe: Imperial Exchanges of Goods and National Identities: Victorian and Swadeshi Views of Crafts under the Raj -311-

62 Rüdiger Joppien, Museum für Kunst und Gewerbe, Hamburg: ‘A Glance into a New World’: Three Approaches to Japan, by Christopher Dresser, Siegfried Bing and Justus Brinckmann -316-

63 Philip Jones, South Australian Museum, Adelaide : George French Angas: Colonial Artist at Large -322-

64 Sarah Thomas, University of Sydney: The Wanderer, the Slave and the Aboriginal: Augustus Earle in Rio de Janeiro and Sydney in the 1820s -328-

65 Elizabeth C Childs, Washington University, St Louis: Exchange, Gifting, Identity and Writing History in Fin-de-Siècle Tahiti -334-

VIII. Representations of Nature across Cultures before the Twentieth Century

66 Frederick Asher, University of Minnesota, and Hidemichi Tanaka, International University, Akita: Introduction -340-

67 Khanh Trinh, Art Gallery of New South Wales, Sydney: Capturing Nature’s Inner Truth: The ‘True-View’ Concept in China, Korea and Japan -342-

68 Gary Hickey, University of Melbourne and University of Queensland, Brisbane: Beauty and Truth in Nature: Japan and the West -347-

69 Frederick Asher, University of Minnesota: Landscape as Placeness in the Art of India -352-

70 Bengt Lärkner, Linköping University: Exoticism at Home: The Artist as Explorer in Nineteenth-Century Sweden -357-

IX. The Sacred across Cultures

71 Robert Gaston, La Trobe University, Melbourne: Introduction -362-

72 Donald Preziosi, University of Oxford and University of California, Los Angeles: Plato’s Dilemma: Art, Religion and Amnesia -364-

73 Ann Thomas Wilkins, Duquesne University, Pittsburgh, and David G Wilkins, University of Pittsburgh: ‘Strangers in a Strange New Land’: How the Immigrant, the Coloniser and the Conqueror Used Sacred Architecture to Establish Identity -370-

74 Robert Nelson, Monash University, Melbourne: Holy Topographies: Aboriginal Art from the Desert Regions and Its Spiritual Relation to Western Perceptual Painting -375-

75 Insoo Cho, Korean National University of the Arts, Seoul: Visualising Ancestor Spirits: Name Tablets or Portraits? -380-

76 Marcin Wislocki, University of Wroclaw: Houses of God, Gates of Heaven, Doors of Grace: Changes in Perception of Lutheran Church Interiors as ‘Holy Places’ Marcin Wislocki, University of Wroclaw -384-

77 Dale Kent, University of California, Riverside: Secular Florentines and Sacred Images -389-

78 Cath Bowdler, Australian National University, Canberra: ‘God Is Love’: Representations of Christianity in Indigenous Art from Ngukurr, South-East Arnhem Land -393-

79 Donna Leslie, Monash University, Melbourne: Sacred Country: Ancient Footprints, New Pathways -398-

80 Peter French, University of Melbourne: A New Conceptualisation of Australian Religious Iconography: The Case of David Wright -403-

81 Roberto Conduru, State University of Rio de Janeiro: From Silence to Multiple Incorporation: Art and Afro-Brazilian Religions -408-

82 Zirka Z Filipczak, Williams College, Williamstown, MA: Trees Growing in the Wilderness and Statues of Miracle-Working Madonnas -413-

83 Britt-Inger Johansson, Uppsala University and the National Museum of Sweden, Stockholm: A Case of Spiritual Colonisation? The Production and Reception History of a Contentious Altarpiece in Jukkasjärvi Church in Lapland, Sweden -419-

84 Irena Kossowska, Polish Academy of Sciences, Warsaw, and Copernicus University, Torun: Chartres, Chichester and Ajanta: The Neo-Medievalism of Eric Gill -424-

85 Naman P Ahuja, Jawaharlal Nehru University, New Delhi: A Pantheon Rediscovered? -429-

86 Tutta Palin, University of Helsinki: Sanctity at the Interstices of Fine Art and Popular Culture: The Case of Ester Helenius -438-

87 Bronwyn Stocks, Monash University, Melbourne: Intersections of Time and Place in Books of Hours -442-

88 Junko Ninagawa, Kansai University, Suita-Shi: A Form of Succession -448-

89 Louise Marshall, University of Sydney: A New Plague Saint for Renaissance Italy: Suffering and Sanctity in Narrative Cycles of Saint Roch -453-

90 Glenys L Adams, University of Melbourne: Sites of Convergence and Divergence: Private Devotional Sites in Seventeenth-Century Rome -459-

X. Materiality across Cultures

91 David Bomford, John Paul Getty Museum, Los Angeles, and Alison Inglis, University of Melbourne: Introduction -466-

92 Spike Bucklow, Hamilton Kerr Institute, University of Cambridge: Lapis Lazuli: Moving Stones at the Heart of Power -468-

93 Anne Dunlop, Yale University, New Haven: Materials, Origins and the Nature of Early Italian Painting -472-

94 Pál Lovei, National Office for the Protection of Cultural Heritage, Budapest: Routes and Meaning: The Use of Red Marble in Medieval Central Europe -477-

95 Aleksandra Lipinska, University of Wroclaw: Alabastrum Effoditur Pulcherrimum and Candissimum: The Influence of Imported Southern Netherlandish Sculpture on the Reception of Alabaster in Central Europe in the Sixteenth Century -482-

96 Joan Barclay Lloyd, La Trobe University, Melbourne, and Alison Inglis, University of Melbourne: Mosaic Dreaming: Materiality, Migration and Memory -487-

97 Louise Hamby, Australian National University, Canberra: Outsiders’ and Arnhem Landers’ Material Exchanges -493-

98 Nicole Tse, Ana Maria Theresa Labrador and Robyn Sloggett, University of Melbourne: Painting Practice in the Philippines: Two Institutionalised Practices and Their Materials and Techniques -498-

99 Alexandra Ellem, University of Melbourne: A Convergence of Cultures: Max Meldrum’s Art Theory and Practice -507-

100 Holly Jones-Amin, University of Melbourne: The Gamelan: Melding Conservation Issues with Javanese Spiritual Beliefs -514-

XI. Memory and Architecture

101 Deborah Howard, University of Cambridge, and Philip Goad, University of Melbourne: Introduction -520-

102 Mahal Catherine B Asher, University of Minnesota: Multiple Memories: Lives of the Taj -522-

103 Francine Giese-Vögeli, University of Bern: The Alhambra in Granada and the Memory of Its Islamic Past -529-

104 Sten Åke Nilsson, Lund University: Curzon, Kedelston and Government House, Calcutta -532-

105 Ian Lochhead, University of Canterbury, Christchurch: Remembering the Middle Ages: Responses to the Gothic Revival in Colonial New Zealand -536-

106 Nicole Sully, University of Queensland, Brisbane: Travelling within Memory: Vicarious Travel and Imagined Voyages -541-

107 Renja Suominen-Kokkonen, University of Helsinki: Moving Finnish Houses: The Knowledge of Objects in Former Finnish Karelia -545-

108 Jacek Purchla, International Cultural Centre, Cracow: Nation, Style, Memory: The Cracow Experience -550-

109 Joe A Thomas, Kennesaw State University: Komar and Melamid: The Future Memory of International Modernism -556-

110 Justine Price, Canisius College, Buffalo: Traces of Utopia: On the Architectural Renderings Published in Kunstwissenschaftliche Forschungen, c. 1933 -562-

111 Ryan Johnston, University of Melbourne: Marks and Rembrancers: Alison and Peter Smithson’s Architectural Memory -567-

112 Carolyn Barnes and Simon Jackson, Swinburne University of Technology, Melbourne: A Strange Case of Cultural Borrowing: The Australian Pavilion at Expo ’70, Osaka -574-

113 Hannah Lewi, University of Melbourne: Analogous Landscapes -580-

XII. Art and Migration

114 Joan Barclay Lloyd, La Trobe University, Melbourne, and Stephen Bann, University of Bristol: Introduction -586-

115 Gottfried Kerscher, University of Trier: Migration of Elements of Islamic Art into Italy from Spain and the Balearic Islands in the Fourteenth Century -588-

116 Stefano Carboni, Metropolitan Museum of Art, New York: Mahmud al-Kurdi and His Italian Customer -592-

117 Erwin Pokorny, University of Vienna: The Gypsies and Their Impact on Fifteenth-Century Western European Iconography -597-

118 Kate Kangaslahti, Nanyang Technological University, Singapore: The École de Paris, Inside and Out: Reconsidering the Experience of the Foreign Artist in Interwar France -602-

119 Anna Wierzbicka, Polish Insitute of Art, Academy of Sciences, Warsaw: Polish Artists in France 1918-39: The Discussion Concerning National Art -607-

120 Lukasz Kossowski, Museum of Literature, Warsaw: Koji Kamoji: A Bridge between Haiku and Christian Mysticism -613-

121 Martine Bouchier, Paris-Val de Seine, National Advanced School of Architecture, LOUEST-CNRS No. 7145: The Role of International Exhibitions in the Diffusion of a Global Memory -617-

122 Alexandra Loumpet-Galitzine, University of Yaounde I, Cameroon: Displaced Objects, Objects in Exile? Changing Virtues of Cameroon Objects in the West -621-

123 Alisa Eimen, Minnesota State University, Mankato: Landscapes of Imagination: Migration and Place in Contemporary Iranian Art -625-

124 Yvonne Scott, Trinity College, Dublin: Moving Pictures: Art, Ireland and Migration -630-

125 Mayumi Abe, National Art Center, Tokyo: Multiplicity of Artistic Migration in the Representation of Return: The Odyssey, Hebdomeros and Postmodernity in the Art of Giorgio de Chirico -635-

XIII. Art and War

126 Nigel Lendon, Australian National University, Canberra, and Thierry Dufrêne, Institut National d’Histoire de l’Art, Paris: Introduction -642-

127 Jan Harasimowicz, University of Wroclaw: Bartholomäus Strobel the Younger and the Thirty Years War -643-

128 Catherine Speck, University of Adelaide: Landscape and the Memory of War-649-

129 Natasha Medvedev, University of California, Los Angeles: Vasily Vereshchagin’s Campaign: Colonial War and Representations of Russia’s Others -654-

130 Wolfgang Brückle, University of Essex: Feature Films and the Shock of the Real: Regarding Wartime Documents in Art-House Cinema and Beyond -659-

131 Johanna Ruohonen, University of Turku: Surviving War: Uniting the Nation in Postwar Finnish Mural Paintings -665-

132 Morgan Thomas, University of Canterbury, Christchurch: Complicities: Abu Ghraib, Contemporary Art and the Currency of Images -669-

133 Thierry Dufrêne, Institut National d’Histoire de l’Art, Paris: Pyrotechnics: From War to Art and Back -673-

134 Nigel Lendon, Australian National University, Canberra: Beauty and Horror: Identity and Confl ict in the War Carpets of Afghanistan -678-

135 Christiane J Gruber, Indiana University, Bloomington: Media/ting Confl ict: Iranian Posters of the Iran-Iraq War -684-

136 Dick Averns, Alberta College of Art and Design, Calgary: Art in the Face of ‘the Project for the New American Century’: A Postmodern Rake’s Progress -690-

XIV. Art and Clashing Urban Cultures

137 Peter Krieger, Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, Mexico City: Introduction -698-

138 Bradley Fratello, St Louis Community College, Meramec: Manet’s Le Déjeuner sur l’herbe: Resisting the Parisian ‘Non-Place’ during Haussmannisation -700-

139 Melissa Laing, University of Sydney: Air Travel and Omnipresent Disaster -705-

140 Arnold Bartetzky, University of Leipzig: Changing Politics, Changing City scapes: Redesigning, Redefi ning and Contesting Public Space in Post-Communist Central Europe -709-

141 Catherine de Lorenzo, University of New South Wales, Sydney: Redfern Resistance -713-

142 Susan Lowish, University of Melbourne: Urban Bush Bashing? Some Indigenous Artists’ Responses to the Australian Government’s Emergency Intervention in the Northern Territory -718-

XV. Global Modern Art: The World Inside Out and Upside Down

143 Andrea Giunta, University of Texas, Austin, and Anthony White, University of Melbourne: Introduction -724-

144 Laura Malosetti Costa, University of Buenos Aires: Art and Nation: To Rome and Back -726-

145 Ara H Merjian, Stanford University: ‘That Arid Feeling for the Burnt Bush’: Giorgio de Chirico’s Wandering Jew, Metaphysical Painting and ‘Semitic Atavism’ -730-

146 Anthony White, University of Melbourne: Wounded: Lucio Fontana’s Wartime Sculpture in Italy and Argentina -734-

147 David Lomas, University of Manchester: Surrealism in the Antipodes: On James Gleeson’s Exile -739-

148 Michael Asbury, Camberwell College of Art, London: From Constructivism to Pop: Avant-Garde Practices in Brazil, Britain and North America between the 1950s and 1960s -743-

149 Andrea Giunta, University of Texas, Austin: Picasso’s Guernica in Latin America -747-

150 Maria de Fátima Morethy Couto, University of Campinas (UNICAMP): ‘Much More than Parrots and Banana Trees’: The Art of Hélio Oiticica in the 1960s -751-

151 Isabel Plante, University of Buenos Aires: ‘From Río del Plata to the Seine’ and Back: Pierre Restany and Damián Bayón -755-

152 Damian Skinner, Gisborne: Our Old Koroua Picasso: Maori Modernist Art in Aotearoa New Zealand -760-

153 Chris McAuliffe, University of Melbourne: Pilgrimage and Periphery: Robert Smithson’s Spiral Jetty and the Discourse of Tourism -765-

XVI. Indigeneity/Aboriginality, Art/Culture and Institutions

154 Jonathan Mane-Wheoki, Museum of New Zealand Te Papa Tongarewa, Wellington: Introduction -770-

155 Caroline Vercoe, University of Auckland: Belonging and Homelands: Negotiating Identity in Aotearoa, New Zealand -773-

156 Hisashi Yakou, Hokkaido University, Sapparo: Between the Indigenous and the Exotic: Landscapes of Hokkaido and the Russian Far East -777-

157 Vicki Couzens, Kaawirn Kuunawarn Hissing Swan Arts, Port Fairy, and Fran Edmonds, University of Melbourne: The Reclamation of South-East Australian Aboriginal Arts Practices -781-

158 Lyndon Ormond-Parker, University of Melbourne: Indigenous Material Culture in the Digital Age -786-

159 Jessica de Largy Healy, University of Melbourne and École des Hautes Études en Sciences Sociales, Paris: ‘My Art Talks about Link’: The Per egrinations of Yolngu Art in a Globalised World -791-

160 Arnaud Morvan, University of Melbourne and École des Hautes Études en Sciences Sociales, Paris: Performing Landscape and Memory: Gija Local and Global Art Circulation -797-

161 Conal McCarthy, Victoria University, Wellington: Postcolonial Pasts and Post-Indigenous Futures? A Critical Genealogy of Museums and ‘Maori Art’ -803-

162 Stephanie Pratt, University of Plymouth: 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 -809-

163 Sarah Scott, Charles Darwin University, Darwin: A Crisis of Identity: Australian Indigenous Culture, Primitivism and Modernism in ‘Recent Australian Painting’ at the Whitechapel Art Gallery, 1961 -814-

164 Julie Gough and Stephen Naylor, James Cook University, Queensland: Circuit Breaking? Indigenous Australian Art and Critical Discourse -820-

165 Anne Whitelaw, University of Alberta, Edmonton: Aboriginalities and Nationalities: Shaping Art History in the Postcolonial Museum -825-

XVII. Parallel Conversions: Asian Art Histories in the Twentieth and Twenty-First Centuries

166 Toshiharu Omuka, University of Tsukuba, Tokyo, and John Clark, University of Sydney: Introduction -830-

167 Shimura Shôko, Tokyo Zokei University: The Concept of ‘Art’ in Japan and International Expositions of the Meiji Period -832-

168 John D Szostak, University of Hawaii, Mãnoa: Takeuchi Seiho, Chigusa Soun, and John Ruskin’s Modern Painters: Reconciling Realism with Japanese Painting, 1900-1910 -837-

169 Yashodara Dalmia, independent scholar, New Delhi: Amrita Sher-Gil: Transformation of the Pre-Modern to the Modern in Early Twentieth-Century Indian Art -842-

170 Bert Winther-Tamaki, University of California, Irvine: Global Consciousness in Yoga Self-Portraiture -847-

171Francesca dal Lago, Leiden University: Realism as a Tool of National Moderni-sation in the Reformist Discourse of Late Nineteenth- and Early Twentieth-Century China -852-

172 Hui Guo, Leiden University: New Categories, New History: ‘The Preliminary Exhibition of Chinese Art’ in Shanghai, 1935 -857-

173 Toby Slade, University of Sydney: Alternative Fashion Histories: Sartorial Modernity in East Asia -861-

174 Annette van den Bosch, Deakin University, Melbourne, and Boitran Huynh-Beattie, Curator, Casula Powerhouse Art Centre, Sydney: The Impact of Censorship, Confl ict and the Diaspora on Vietnamese Art History -866-

175 Michelle Antoinette, Research School of Pacific and Asian Studies, Australian National University, Canberra: Contending with Present Pasts: On Developing South-East Asian Art Histories -870-

176 Olivier Krischer, Tsukuba University: Picturing Early Twentieth-Century Sino-Japanese Art Relations in Omura Seigai’s ‘Shina Rekiyu Dan’: An Account of Making Art History in the 1920s -875-

177 Yiyang Shao, Academy of Fine Arts, Beijing: Why Realism? From Social Realism to Neo-Realism in Modern Chinese Art -881-

178 Silvia Fok Siu Har, University of Hong Kong: Interconnectedness of Performance Art Festivals across and beyond Asia -886-

179 Thomas J Berghuis, College of Fine Arts, University of New South Wales, Sydney: Shanghai Dream-Theatre: (Re-)Imagining the City, the Conditions of Existence and the New Shanghai Surreal -890-

180 Kitty Zijlmans, Leiden University: The Artist as Image Decoder: Ni Haifeng’s Agency between Europe and China -895-

181 Francis Maravillas, University of Technology, Sydney: Art Histories at the Crossroads: ‘Asian’ Art in Australia -900-

182 Jane A Sharp, Rutgers, State University of New Jersey, Newark: A Kiss to Matisse: Strategies for Histories of Modernism in Central Asia. Uzbekistan in the 1920s, Kazakhstan in the 1980s-1990s -905-

183 Ufan Youngna Kim, Seoul National University: Constructing Transnational Identities: Paik Nam June and Lee -910-

XVIII. Contemporaneity in Art and Its History

184 Terry Smith, University of Pittsburgh, and Charles Green, University of Melbourne: Introduction -916-

185 Terry Smith, University of Pittsburgh: Writing the History of Contemporary Art: A Distinction, Three Propositions and Six Lines of Inquiry -918-

186 Ian Maclean, University of Western Australia, Perth: Historicity and Aboriginal Art: How Long Will It Take for Aboriginal Art to Become Modern? -922-

187 Cécile Pelaudeix, University of Paris X, Nanterre: Contemporaneity in Inuit Art through the Twentieth and Early Twenty-First Centuries 926

188 Jill Carrick, Carleton University, Ottawa: Topographies of Chance: Tracing the ‘Contemporary’ in 1960s France -931-

189 Alexander Alberro, Barnard College, New York: Periodising Contemporary Art -935-

190 Daniel Palmer, Monash University, Melbourne: Global Visions, Local Contemporaneity: Video Art in Australia -940-

191 Charles Green, University of Melbourne: The Atlas Effect: Constraint, Freedom and the Circulation of Images -945-

192 Anthony Gardner, University of Melbourne: On the ‘Evental’ Installation: Contemporary Art and Politics of Presence -951-

XIX. New Media across Cultures

193 Ross Gibson, University of Technology, Sydney: Introduction -958-

194 Dirk de Bruyn, Deakin University, Melbourne: Old Traces on a New Body -959-

195 Sean Cubitt, University of Melbourne: Transience: Indigenous, Settler and Migrant Media -963-

196 Vivien Johnson and Joanna Mendelssohn, University of New South Wales, Sydney: Imagining the Future: Issues in Writing and Researching Art’s Histories in a Digital Age with the DAAO -968-

197 Richard Read, University of Western Australia, Perth: Painting as New Medium: The Reversed Canvas in Colonial Art -972-

198 Shuddhabrata Sengupta, Raqs Media Collective, New Delhi: The Fiction of Art History: Imaginary Provenances for Media Arts in South Asia -977-

XX. Economies of Desire: Art Collecting and Dealing across Cultures

199 Christopher R Marshall, University of Melbourne: Introduction -984-

200 Meaghan Wilson-Anastasios, University of Melbourne, and Neil De Marchi, Duke University, Durham: The Impact of Unscrupulous Dealers on Sustainability in the Australian Aboriginal Desert Paintings Market: A View from the High End -986-

201 Philip Batty, Melbourne Museum: A Fine Romance: White Money, Black Art -991-

202 Belinda Nemec, University of Melbourne: The Paradox of Collecting the ‘Other’: Percy Grainger’s Collecting of Non-Western Cultures -995-

203 Michael North, University of Greifswald: Art Dealing as Medium of Cultural Transfer -1001-

204 Christian Huemer, City University of New York and Getty Research Institute, Los Angeles: Crossing Thresholds: The Hybrid Identities of Late Nineteenth-Century Art Dealers -1007-

205 Khadija Z Carroll, Harvard University: Small Mirrors to Large Empires: Towards a Theory of Meta-Museums in Contemporary Art -1012-

206 Christopher R Marshall, University of Melbourne: Framing Fusion: Varieties of Collecting and Display at the Museo Poldi Pezzoli, Milan -1017-

207 María Isabel Baldassare, University of Buenos Aires: On Art Collecting in Argentina, or How the Pre-Columbian Past Became an Object of Desire -1022-

XXI. New Museums across Cultures

208 Jonathan Sweet, Deakin University, Melbourne: Introduction -1028-

209 Zhang Gan, Tsinghua University, Beijing: The Modern Museum in China -1032-

210 Julia Walker, University of Pennsylvania, Philadelphia: The Uncanny Space of Daniel Libeskind’s Jewish Museum -1036-

211 Katarzyna Jagodzinska, International Cultural Centre, Cracow: New Museums: Institutionalisation of Contemporary Art in Central Europe. Crossing Inspirations -1040-

212 Cristina Albu, University of Pittsburgh: Problematics of Postcolonial Dislocation in the Case of the National Museum of Contemporary Art in Bucharest -1045-

213 Chiaki Ajioka, University of Sydney: Out of Context: Towards Presentation of Japanese Art in Western Museums -1051-

214 Anne L Marshall, University of Idaho, Moscow, ID: Constructing Tribal Architectures and Identities in Native American Museums and Cultural Centres -1055-

215 Kylie Message, Australian National University, Canberra: Creating Cultural Citizenship out of Contemporary Art at the National Museum of the American Indian? -1061-

216 Milan Kreuzzieger, Centre of Global Studies, Prague: The Cosmopolitan Museum (of Art) -1067-

XXII. Repatriation

217 Dario Gamboni, University of Geneva : Introduction -1072-

218 Dario Gamboni, University of Geneva: Art History and Repatriation: A Case of Mutual Illumination? -1074-

219 Kenneth Lapatin, John Paul Getty Museum, Los Angeles: Shrewd Calculations -1079-

220 Jeffrey Chipps Smith, University of Texas, Austin: Repatriating Sanctity, or How the Dukes of Bavaria Rescued Saints during the Reformation -1084-

221 Andrew Leach, University of Queensland, Brisbane: Alexander Neumann (Bielitz 186 - Wellington 1947): Portfolio in Exile -1090-

222 Kavita Singh, Jawaharlal Nehru University, New Delhi: Repatriation Ante Patria: Repatriating for Tibet -1094-

223 Adam Lowe, artist, United Kingdom: Returning Veronese’s The Wedding at Cana to Venice: Some Issues Concerning Originality and Repatriation -1100-

224 Marc-André Renold, University of Geneva Law School: Arbitration and Mediation as Alternative Resolution Mechanisms in Disputes Relating to the Restitution of Cultural Property -1104-

Index of Authors -1107-