Crossing cultures: conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Tagungsbericht Buch |
| Sprache: | English |
| Veröffentlicht: |
Carlton, Vic., Australia
Miegunyah Press
2009
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVIII, 1108 S. Ill., Kt. |
| ISBN: | 9780522855005 |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV035186772 | ||
| 003 | DE-604 | ||
| 005 | 20140717 | ||
| 007 | t | ||
| 008 | 081128s2009 ab|| |||| 10||| eng d | ||
| 020 | |a 9780522855005 |9 978-0-522-85500-5 | ||
| 035 | |a (OCoLC)634063159 | ||
| 035 | |a (DE-599)BVBBV035186772 | ||
| 040 | |a DE-604 |b ger |e rakwb | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-19 |a DE-703 |a DE-188 |a DE-Y3 |a DE-Y2 |a DE-255 |a DE-Y7 |a DE-11 | ||
| 245 | 1 | 0 | |a Crossing cultures |b conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008 |c ed. by Jaynie Anderson |
| 246 | 1 | 3 | |a International Congress in the History of Art |
| 250 | |a 1. publ. | ||
| 264 | 1 | |a Carlton, Vic., Australia |b Miegunyah Press |c 2009 | |
| 300 | |a XVIII, 1108 S. |b Ill., Kt. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 650 | 0 | 7 | |a Kulturkontakt |g Motiv |0 (DE-588)4315384-7 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Kunst |0 (DE-588)4114333-4 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Migration |g Motiv |0 (DE-588)4393588-6 |2 gnd |9 rswk-swf |
| 655 | 7 | |0 (DE-588)1071861417 |a Konferenzschrift |y 2008 |z Melbourne |2 gnd-content | |
| 689 | 0 | 0 | |a Kunst |0 (DE-588)4114333-4 |D s |
| 689 | 0 | 1 | |a Migration |g Motiv |0 (DE-588)4393588-6 |D s |
| 689 | 0 | 2 | |a Kulturkontakt |g Motiv |0 (DE-588)4315384-7 |D s |
| 689 | 0 | |5 DE-604 | |
| 700 | 1 | |a Anderson, Jaynie |0 (DE-588)105368536X |4 edt | |
| 710 | 2 | |a International Committee on the History of Art |e Sonstige |0 (DE-588)2014707-7 |4 oth | |
| 710 | 2 | |a University of Melbourne |e Sonstige |0 (DE-588)1025478-X |4 oth | |
| 711 | 2 | |a International Congress in the History of Art |n 32 |d 2008 |c Melbourne |j Sonstige |0 (DE-588)16014854-6 |4 oth | |
| 856 | 4 | 2 | |m Digitalisierung UB Bayreuth |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016993445&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-016993445 | ||
Datensatz im Suchindex
| _version_ | 1804138362841333760 |
|---|---|
| adam_text | Contents
Preface
]
ay
nie
Anderson, Convenor of the 32nd
International Congress in the History of Art
xvii
10
11
12
13
4
14
15
1
A Melbourne Conversation at the Town
Hall on Art, Migration and Indigeneity:
What Happens when Cultures Meet?
1
An Introduction to the Conversation
Gerard Vaughan, Director of the National
Gallery of Victoria, Melbourne
2
2
Playing between the Lines: The Melbourne
Experience of Crossing Cultures
Jaynie Anderson, University of
Melbourne
4
3
Art in Transit: Give and Take in Dutch Art
Ronald
de Leeuw,
Director of the
Rijksmuseum,
Amsterdam
10
4
Found in Translation
Howard Morphy, Australian National
University, Canberra
18
5
Home and Away: Works of Art as
Citizens and Migrants
Michael Brand, Director of the ]ohn Paul
Getty Museum, Los Angeles
21
6
The Travels of a Mi kmaq Coat:
A Nineteenth-Century World Art History
and Twenty-First-Century Cultural Politics
Ruth
В
Phillips,
Carleton
University,
Ottawa
26
Creating Perspectives on
Global Art History
Joe Burke s Legacy: The History of Art
History in Melbourne
Andrew Grimwade, Chairman of the
Felton
Bequest and
Ufe
Member of the
Miegunyah fund
32
The Art of Being Aboriginal
Marcia
Langton,
University of
Melbourne
35 19
On Global Memory: Reflections on
Barbaric Transmission
Homi
K Bhabha,
Harvard University
46
Art Histories in an Interconnected World:
Synergies and New Directions
Beyond the National, inside the Global:
New Identity Strategies in Asian Art in
the Twenty-First Century
John Clark, University of Sydney
58
Not Just Images but Art: Pragmatic
Issues in the Movement towards a More
Inclusive Art History
Howard Morphy, Australian National
University, Canberra
60
The World at Stake:
США
after Melbourne
Jaynie Anderson, University of
Melbourne
63
Global Collections for Global Cities
Neil McGregor, Director of the British
Museum, London
65
The Idea of World Art History
Introduction
1
Thomas DaCosta
Kaufmann,
Princeton University
12
Introduction
2
Peter
J
Schneemann, Institut für
Kunstgeschichte, Bern 75
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?
John Onians, University of East
Anglia,
Norwich
78
Towards Horizontal Art History
Piotr Piotrowski, Adam Mickiewicz
University,
Poznah
82
Global Aspects on Johnny Roosval
s
Concept of the Artedominium
Jan von Bonsdorff,
Uppsala University
86
Putting the World in a Book: How
Global Can Art History Be Today?
Parul
D Mukherji,
Jawaharlal
Nehru
University,
New Delhi
91
17
18
VIH
Contents
Empirical Perspectives
20
From Ideology to Universal Principles:
Art History and the Visual Culture of the
Balkans in the Ottoman Empire
Ne nad Makuljević,
University of
Belgrade
98
21
From Nation via Immigration to World
Art: Concepts and Methods of
Brazílián
Art Theory
Jens Baumgarten,
Universidade
Federal
de São
Paulo
104
22
Universalism
and Utopia: Joseph Beuys
and
Alighiero Boetti
as Case Studies for
a World Art History
Nicola
Müllerschön, Institut für
Kunstgeschichte, Bern
111
23 Genius
Loci: The Revenge of the Good
Savage?
Carmen Popescu,
André Chastel
Research
Centre, Paris, and New Europe College,
Bucharest
116
24
A Survey of the Current State of Art
History in China
Shao Dazhen, Central Academy of
Fine Arts, Beijing
121
25
Recent Study in Ancient Chinese Art
History in China
Yan Zheng, Central Academy of
Fine Arts, Beijing
124
26
Objects without Borders: Cultural Eco¬
nomy and the World of Artefacts
Jennifer Purtle, University of Toronto
127
5
Fluid Borders: Mediterranean Art Histories
27
Fluid Borders, Hybrid Objects: Mediter¬
ranean Art Histories
500-1500,
Questions
of Method and Terminology
Gerhard Wolf,
Kunsthistorisches
Institut,
Fbrence
134
28
Building Identities: Fluid Borders and
an International Style of Monumental
Architecture in the Bronze Age
Louise A Hitchcock, University of
Melbourne
29
Byzantine Art in Italy: Sixth-Century
Ravenna as a Matrix of Confluence?
Felicity Harley McGowan,
University of Melbourne
144
30
Image-Paradigms as a Category of
Mediterranean Visual Culture: A Hiero-
topic Approach to Art History
AlexeiLidov, Research Centre for
Eastern Christian Culture, Moscow
148
31
The Golden Age in Al-Andalus as
Remembered, or How Nostalgia
Forged History
Avinoam Shalem, University of Munich
and
Kunsthistorisches Institut,
Florence
154
32
Fluid Picture-Making across Borders,
Genres, Media: Botanical Illustration
from Byzantium to Baghdad, Ninth to
Thirteenth Centuries
Alain Touwaide, National Museum of
Natural History, Smithsonian Institution,
Washington, DC
159
33
Greek Painters Working for Latin and
Non-Orthodox Patrons in the Late
Medieval Mediterranean: Some
Preliminary Remarks
Michele
Bacei,
University of Siena
164
34
Sailing through Time and Space: How
Cyriacus of
Ancona
Rediscovered the
Classical Past
Marina Belozerskaya, independent
scholar, Los Angeles
169
35
Multi-Ethnic Rome and the Global
Renaissance: Ethiopia, Armenia and
Cultural Exchange with Rome during
the Fifteenth Century
Christiane Esche-Ramshorn,
University of Cambridge
1Ъ
6
Hybrid Renaissances in Europe and Beyond
36
Introduction
Luke Morgan, Monash University,
Melbourne, and Philippe
Sénéchal,
University ofPicardy, Amiens
180
37
Hybrid Renaissance in Burgundy
Frederic
Eist
g,
University of Geneva
182
38
Heterotopia in the Renaissance: Modern
Hybrids as Antiques in
Bramante
and
Cima da
Conegliano
Lorenzo
Pericolo,
Université
de Montréal
186
39
Gran Cosa è Roma: The
Noble
Patronage
of Architecture in Early
Sixteenth-Century Portugal
Luisa
frança Luzio,
Institute of Art
History, UNL-FCSH, Lisbon
192
40
A Bastard Renaissance?
Benedikt Ried,
Master IP and the Question of Renais¬
sance in Central Europe
Pavel
Kalina,
Czech Technical University,
Prague
199
41
Difference, Repetition and Utopia:
Early Modern Print
s New
Worlds
Christopher
Ρ
Heuer,
Princeton
University
203
42
The Carnivalesque Renaissance
John Gregory, Monash University,
Melbourne
209
Contents
їх
43
Opinione Contraria
:
The Anatomy
of
Pathos in
an Early Drawing by
Rosso
Fiorentino
Vivien Gaston,
University of
Melbourne
216
44
The Hermaphrodite in the Garden
Luke Morgan, Monash University,
Melbourne
222
45
Refraining the Renaissance Problem
Today: Developing a Pluralistic
Historical Vision
Claire
Faragó,
University of Colorado,
Boulder
227
46
Do We Still Need a Renaissance?
Keith Moxey, Barnard College,
Columbia University, New York
233
7
Cultural and Artistic Exchange in the
Making of the Modern World,
1500-1900
47
Introduction
Larry Silver, University of Pennsylvania,
Philadelphia, and Charles
Zika,
University of Melbourne
240
48
Cultures and Curiosity
Larry Silver, University of Pennsylvania,
Philadelphia
242
49
Human Sacrifice as Symbolic Capital:
Images of the Violated Aztec Body
for a Changing World,
1500-1900
and Beyond
Cecilia
F
Klein, University of California,
Los Angeles
247
50
Public Identity and Material Culture in
Dutch
Batavia
Dawn Odell, Lewis and Clark College,
Portland
253
51
Exposure to Your Ways : China,
the Dutch and Early Modern Vision
Julie Hochstrasser, University of Iowa
258
52
The Global Rembrandt
Catherine
В
Scallen, Case Western
Reserve University, Cleveland
263
53
Images of Bathing Women in Early
Modern Europe and Turkey
Patricia Simons, University of
Michigan
267
54
Global Encounters: Conventions and
Invention in Hans Burgkmair s Images
of Natives of Africa, India and the
New World
Ashley West, University of Pennsylvania,
Philadelphia
272
55
Patterns of Domestication: Exotic
Animals, Plants and People in Australian
and European Decorative Arts
Dagmar Eichberger,
University of
Heidelberg
279
56
Dressing Up like the Cannibals?
Adriaen
Hanneman s
Portrait of
Princess Mary Stuart in
a Tupi
Feather Cape
Rebecca Parker Brienen, University
of Miami
285
57
Tupi Featherwork
and the Dynamics
of Intercultural Exchange in Early
Modern Brazil
A my
J
Buono,
Southern Methodist
University, Dallas
291
58
The Visual Subplot: Local Art,
Global Trade and the Socio-Ethics
of Exchange, Amsterdam
1580-1680
Elisabeth
de Bièvre,
independent
scholar, UK
296
59
Visual Elaborations:
Fausto
Zonaro s
Ottoman
Self-Portraits
Mary Roberts, University of Sydney
300
60
The Brush and the Burin: Mogul
Encounters with European Engravings
Yael Rice, University of Pennsylvania,
Philadelphia
305
61
Imperial Exchanges of Goods and
National Identities: Victorian and
Swadeshi Views of Crafts under the Raj
Julie Codell, Arizona State University,
Tempe
311
62
A Glance into a New World : Three
Approaches to Japan, by Christopher
Dresser, Siegfried
Bing
and Justus
Brinckmann
Rüdiger
Joppien, Museum
für Kunst
und Gewerbe, Hamburg 316
63 George
French
Angas: Colonial
Artist
at Large
Philip Jones, South Australian Museum,
Adelaide
322
64
The Wanderer, the Slave and the
Aboriginal: Augustus Earle in Rio
de
Janeiro and Sydney in the 1820s
Sarah Thomas, University of Sydney
328
65
Exchange, Gifting, Identity and Writing
History in
Fin-de-Siècle
Tahiti
Elizabeth
С
Chads, Washington
University, St Louis
334
8
Representations of Nature across Cultures
before the Twentieth Century
66
Introduction
Frederick Asher, University of Minnesota,
and Htdemichi Tanaka, International
University, Akita
340
67
Capturing Nature s Inner Truth:
The True-View Concept in China,
Korea and Japan
Khanh Trinh, Art Gallery of New South
Wales, Sydney
342
68
Beauty and Truth in Nature: Japan
and the West
Gary Hickey, University of Melbourne
and University of Queensland, Brisbane
347
69
Landscape as Placeness in the Art
of India
Frederick Asher, University of
Minnesota
352
70
Exoticism at Home: The Artist as
Explorer in Nineteenth-Century Sweden
Bengt Lärkner, Linköping
University
357
9
The Sacred across Cultures
71
Introduction
Robert
Gaston,
La Trobe University,
Melbourne
362
72
Plato s Dilemma: Art, Religion
and Amnesia
Donald
Preziosi,
University of Oxford
and University of California,
Los Angeles
364
73
Strangers in a Strange New Land :
How the Immigrant, the Coloniser and
the Conqueror Used Sacred Architecture
to Establish Identity
Ann Thomas Wilkins,
Duque
sne
University, Pittsburgh, and David
G Wilkins,
University of Pittsburgh
370
74
Holy Topographies: Aboriginal Art from
the Desert Regions and Its Spiritual
Relation to Western Perceptual Painting
Robert Nelson, Monash University,
Melbourne
375
75
Visualising Ancestor Spirits: Name
Tablets or Portraits?
Insoo Cho, Korean National University
of the Arts, Seoul
380
76
Houses of God, Gates of Heaven,
Doors of Grace: Changes in Perception
of Lutheran Church Interiors as
Holy Places
Marcin Wisłocki,
University of
Wrocław
384
77
Secular Florentines and Sacred Images
Dale Kent, University of California,
Riverside
389
78
God Is Love : Representations of
Christianity in Indigenous Art from
Ngukurr, South-East
Arnhem
Land
Cath Bowdler, Australian National
University, Canberra
393
79
Sacred Country: Ancient Footprints,
New Pathways
Donna Leslie, Monash University,
Melbourne
398
80
A New Conceptualisation of Australian
Religious Iconography: The Case of
David Wright
Peter French, University of Melbourne
403
81
From Silence to Multiple Incorporation:
Art and Afro-Brazilian Religions
Roberto Conduru, State University
of
Rio de
Janeiro
408
82
Trees Growing in the Wilderness and
Statues of Miracle-Working Madonnas
Zirka
Z Filipczak,
Williams College,
Williamstown, MA
413
83
A Case of Spiritual Colonisation? The
Production and Reception History of a
Contentious Altarpiece in
Jukkasjärvi
Church in Lapland, Sweden
Britt-Inger
Johansson, UppsaL· University
and the National Museum of Sweden,
Stockholm
419
84
Chartres, Chichester
and Ajanta:
The Neo-Medievalism of Eric Gill
Irena Kossowska,
Polish Academy of
Sciences, Warsaw, and Copernicus
University, Torun
424
85
A Pantheon Rediscovered?
Naman
Ρ
Ahuja,
Jawaharlal
Nehru
University, New Delhi
429
86
Sanctity at the Interstices of Fine Art
and Popular Culture: The Case of Ester
Heleni
us
Tutta
Palin,
University of Helsinki
438
87
Intersections of Time and Place in
Books of Hours
Bronwyn Stocks, Monash University,
Melbourne
442
88
A Form of Succession
Junko Ninagawa, Kansai University,
Suita-Shi
448
89
A New Plague Saint for Renaissance
Italy: Suffering and Sanctity in Narra¬
tive Cycles of Saint
Roch
Louise Marshall, University of Sydney
453
90
Sites of Convergence and Divergence:
Private Devotional Sites in Seventeenth-
Century Rome
Glenys
L
Adams, University of
Melbourne
459
10
Materiality across Cultures
91
Introduction
David Bomford, John Paul Getty Museum,
Contents
Xl
Los Angeles, and
Alison
lnglis,
University of
Melbourne 466
92 Lapis
Lazuli: Moving Stones at the
Heart of Power
Spike Bucklow, Hamilton Kerr Institute,
University of Cambridge
468
93
Materials, Origins and the Nature of
Early Italian Painting
Anne Dunlop, Yale University,
New Haven All
94
Routes and Meaning: The Use of Red
Marble in Medieval Central Europe
PálLövei,
National Office for the Pro¬
tection of Cultural Heritage, Budapest
477
95
Alabastrům
Effoditur Pulcherrimum and
Candissimum: The Influence of Imported
Southern Netherlandish Sculpture on the
Reception of Alabaster in Central Europe
in the Sixteenth Century
Aleksandra Lipińska,
University
of
Wrocław
482
96
Mosaic Dreaming: Materiality,
Migration and Memory
Joan Barclay Lloyd, La Trobe University,
Melbourne, and Alison
lnglis,
University
of Melbourne
487
97
Outsiders and
Arnhem
Landers
Material Exchanges
Louise Hamby, Australian National
University, Canberra
493
98
Painting Practice in the Philippines:
Two Institutionalised Practices and
Their Materials and Techniques
Nicole
lse,
Ana Maria Theresa Labrador
and
Roby
η
Sloggett, University of
Melbourne
498
99
A Convergence of Cultures: Max
Meldrum s Art Theory and Practice
Alexandra
Ellem,
University of
Melbourne
507
100
The
Gamelan:
Melding Conservation
Issues with Javanese Spiritual Beliefs
Holly Jones-Amin,
University
of
Melbourne
514
11
Memory and Architecture
101
Introduction
Deborah Howard, University of
Cambridge, and Philip Goad, Uni¬
versity of Melbourne
520
102
Multiple Memories: Lives of the
Taj Mahal
Catherine
В
Asher, University of
Minnesota
522
103
The Alhambra in Granada and the
Memory of Its Islamic Past
Francine Giese-Vögeli,
University
of Bern
529
104
Curzon, Kedelston
and Government
House, Calcutta
Sten Åke Nilsson, Lund
University
532
105
Remembering the Middle Ages:
Responses to the Gothic Revival in
Colonial New Zealand
Ian Lochhead, University of Canterbury,
Christchurch
536
106
Travelling within Memory: Vicarious
Travel and Imagined Voyages
Nicole Sully, University of Queensland,
Brisbane
541
107
Moving Finnish Houses: The Knowl¬
edge of Objects in Former Finnish
Karelia
Renja Suominen-Kokkonen,
University of Helsinki
545
108
Nation, Style, Memory: The Cracow
Experience
Jacek Purchla,
International
Cultural Centre, Cracow
550
109
Komar
and Melamid: The Future
Memory of International Modernism
Joe A Thomas, Kennesaw State
University
556
110
Traces of Utopia: On the Archi¬
tectural Renderings Published in
Kunst¬
wissenschaftliche Forschungen,
с.
1933
Justine Price, Canisius College, Buffalo
562
111 Marks and Rembrancers: Alison and
Peter
Smithson
s
Architectural Memory
Ryan Johnston, University of
Melbourne
567
112
A Strange Case of Cultural Borrowing:
The Australian Pavilion at Expo
70,
Osaka
Carolyn Barnes and Simon Jackson,
Swinburne University of Technology,
Melbourne
574
113
Analogous Landscapes
Hannah Lewi, University of
Melbourne
580
12
Art and Migration
114
Introduction
Joan Barchy Lloyd, La Trobe University,
Melbourne, and Stephen
Bann,
University of Bristol
586
115
Migration of Elements of Islamic Art into
Italy from Spain and the Balearic Islands
in the Fourteenth Century
Gottfried Kerscher, University of Trier
588
116 Mahmud al-Kurdi
and His Italian
Customer
XU
Contents
Stefano
Carboni,
Metropolitan Museum
of
Art, New York 592
117
The Gypsies and Their Impact on
Fifteenth-Century Western European
Iconography
Erwin Pokorny,
University of Vienna
597
118
The
École de
Paris, Inside and Out:
Reconsidering the Experience of the
Foreign Artist in Interwar France
Kate Kangaslahti, Nanyang Techno¬
logical University, Singapore
602
119
Polish Artists in France
1918-39:
The
Discussion Concerning National Art
Anna Wierzbicka, Polish Insitute of Art,
Academy of Sciences, Warsaw
607
120
Koji Kamoji:
A Bridge between Haiku
and Christian Mysticism
hukasz Kossowski,
Museum of Litera¬
ture, Warsaw
613
121
The Role of International Exhibitions
in the Diffusion of a Global Memory
Martine Bouchier, Paris-Val de
Seine,
National Advanced School of Architec¬
ture, LOUEST-CNRS No.
7145 617
122
Displaced Objects, Objects in Exile?
Changing Virtues of Cameroon Objects
in the West
Alexandra Loumpet-Galitzine,
University of Yaounde I, Cameroon
621
123
Landscapes of Imagination: Migration
and Place in Contemporary Iranian Art
Alisa Eimen,
Minnesota State University,
Mankato
625
124
Moving Pictures: Art, Ireland and
Migration
Yvonne Scott, Trinity College,
Dublin 630
125
Multiplicity of Artistic Migration in the
Representation of Return: The Odyssey,
Hebdomeros and Postmodernity in the
Art of Giorgio
de Chineo
Mayumi Abe, National Art Center,
Tokyo
635
13
Art and War
126
Introduction
Nigel Lendon, Australian National
University, Canberra, and Thierry
Dufrêne, Institut
National
d Histoire
de l Art, Paris
642
127 Bartholomäus
Strobel
the Younger
and the Thirty Years War
Jan Harasimowicz, University of
Wrodaw
643
128
Landscape and the Memory of War
Catherine Speck, University of
Adelaide
649
129
Vasily Vereshchagin s Campaign:
Colonial War and Representations of
Russia s Others
Natasha Medvedev, University of
California, Los Angeles
654
130
Feature Films and the Shock of the
Real: Regarding Wartime Documents
in Art-House Cinema and Beyond
Wolfgang Briickle, University
ofEssex
659
131
Surviving War: Uniting the Nation in
Postwar Finnish Mural Paintings
Johanna Ruohonen, University of
Turku
665
132
Complicities: Abu Ghraib, Contempo¬
rary Art and the Currency of Images
Morgan Thomas, University of
Canterbury, Christchurch
669
133
Pyrotechnics: From War to Art and Back
Thierry
Dufrêne,
Instituí
National
d Histoire de l Art, Paris
673
134
Beauty and Horror: Identity and Con¬
flict in the War Carpets of Afghanistan
Nigel Lendon, Australian National
University, Canberra
678
135
Media/ting Conflict: Iranian Posters
of the Iran—Iraq War
Christiane
J
Gruber,
Indiana University,
Bloomington
684
136
Art in the Face of the Project for the
New American Century : A Postmodern
Rake s Progress
Dick Averns, Alberta College of Art
and Design, Calgary
690
14
Art and Clashing Urban Cultures
137
Introduction
Peter
Krieger,
Instituto de Investi¬
gaciones Estéticas, Universidad Nacional
Autónoma de México,
Mexico
City
698
138
Manet s
Le Déjeuner
sur l herbe:
Resisting the Parisian Non-Place
during Haussmannisation
Bradley
Fratello,
St
Louis Community
College, Meramec
700
139
Air Travel and Omnipresent Disaster
Melissa Laing, University of Sydney
705
140
Changing Politics, Changing
Cityscapes:
Redesigning, Redefining and Contesting
Public Space in Post-Communist Central
Europe
Arnold Bartetzky, University of
Leipzig
709
141
Redfern Resistance
Catherine
de
Lorenzo, University of
New South Wales, Sydney
W
Contents
хш
142
Urban Bush Bashing? Some Indigenous
Artists Responses to the Australian
Government s Emergency Intervention
in the Northern Territory
Susan howish, University of
Melbourne
718
15
Global Modern Art: The World Inside Out
and Upside Down
143
Introduction
Andrea
Giunta,
University
of Texas,
Austin, and Anthony White, University
of Melbourne
724
144
Art and Nation: To Rome and Back
Laura Malosetti Costa, University of
buenos
Aires
726
145
That Arid Feeling for the Burnt Bush :
Giorgio
de Chirico s
Wandering Jew,
Metaphysical Painting and Semitic
Atavism
Ara H
Merjian, Stanford University
730
146
Wounded:
Lucio Fontana s
Wartime
Sculpture in Italy and Argentina
Anthony White, University of
Melbourne
734
147
Surrealism in the Antipodes: On
James Gleeson s Exile
David Lomas,
University of
Manchester
739
148
From Constructivism to Pop:
Avant-
Garde
Practices in Brazil, Britain and
North America between the
1950s
and
1960s
Michael Asbury, Camberwell College
of Art, London
743
149
Picasso s Guernica in Latin America
Andrea
Giunta,
University of Texas,
Austin
747
150
Much More than Parrots and Banana
Trees : The Art of
Hélio Oiticica
in the
1960s
Maria
de Fátima
Morethy
Couto,
University of Campinas (UNICAMP)
751
151
From Rio del Plata to the Seine and
Back: Pierre Restany and
Damián Bayón
Isabel
Plante,
University of
Buenos Aires
755
152
Our Old Koroua Picasso: Maori
Modernist Art in Aotearoa New Zealand
Damian
Skinner, Gisborne
760
153
Pilgrimage and Periphery: Robert
Smithson
s
Spiral Jetty and the Discourse
of Tourism
Chris McAuliffe, University of
Melbourne
765
16
Indigeneity/Aboriginality, Art/Culture and
Institutions
154
Introduction
Jonathan Mane-Wheoki, Museum of New
Zealand
Te Papa
Tongarewa, Wellington
770
155
Belonging and Homelands: Negotiating
Identity in Aotearoa, New Zealand
Caroline Vercoe, University of
Auckland
773
156
Between the Indigenous and the Exotic:
Landscapes of Hokkaido and the Russian
Far East
Hisashi Yakou, Hokkaido University,
Sapparo
111
157
The Reclamation of South-East
Australian Aboriginal Arts Practices
Vicki Couzens, Kaawirn Kuunawarn
Hissing Swan Arts, Port Fairy, and Fran
Edmonds, University of Melbourne
781
158
Indigenous Material Culture in the
Digital Age
Lyndon Ormond-Parker, University
of Melbourne
786
159
My Art Talks about Link :
The Peregrinations of Yolngu Art
in a Globalised World
Jessica
de
Largy Healy,
University of
Melbourne and
Ecole des Hautes
Études en Sciences Sociales, Paris
791
160
Performing Landscape and
Memory:
Gija
Local and Global Art Circulation
Arnaud
Morván,
University of
Melbourne
and
École des Hautes Études en Sciences
Sociales, Paris
797
161
Postcolonial
Pasts and Post-Indigenous
Futures? A
Critical Genealogy of
Museums and Maori Art
Conal McCarthy, Victoria University,
Wellington
803
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
Stephanie Pratt, University of
Plymouth
809
163
A Crisis of Identity: Australian Indigenous
Culture,
Primitivism
and Modernism
in Recent Australian Painting at the
Whitechapel Art Gallery,
1961
Sarah Scott, Charles Darwin University,
Darwin
814
164
Circuit Breaking? Indigenous
Australian Art and Critical Discourse
Julie Gough and Stephen Nay lor,
James Cook University, Queensland
820
XIV
Contents
165
Aboriginalities
and Nationalities: Shaping
Art History in the
Postcolonial
Museum
Anne Whitelaw, university of Alberta,
Edmonton
825
17
Parallel Conversions: Asian Art Histories in
the Twentieth and Twenty-First Centuries
166
Introduction
Toshiharu Omuka, University of
Tsukuba, Tokyo, and John Clark,
University of Sydney
830
167
The Concept of Art in Japan and
International Expositions of the Meiji
Period
Shimura Shako, Tokyo Zokei
University
832
168
Takeuchi
Seihö, Chigusa
Sõun,
and John
Ruskin s
Modern Painters: Reconciling
Realism with Japanese Painting,
1900-1910
John
D
Szos tak,
University of Hawaii,
Mãnoa
837
169
Amrita Sher-Gil: Transformation of the
Pre-Modern to the Modern in Early
Twentieth-Century Indian Art
Yashodara Dalmia, independent schoUr,
New Delhi
842
170
Global Consciousness in Yoga Self-
Portraiture
Bert Winther-Tamaki, University of
California, Irvine
847
171
Realism as a Tool of National Moderni¬
sation in the Reformist Discourse of Late
Nineteenth- and Early Twentieth-
Century China
Francesca
dal Lago,
Leiden
University
852
172
New Categories, New History: The
Preliminary Exhibition of Chinese Art
in Shanghai,
1935
Hui Guo,
Leiden University
857
173
Alternative Fashion Histories: Sartorial
Modernity in East Asia
Toby
Slade,
University of Sydney
861
174
The Impact of Censorship, Conflict and
the Diaspora on Vietnamese Art History
Annette van den Bosch, Deakin University,
Melbourne, and Boitran Huynh-Beattie,
Curator,
Casula
Powerhouse Art Centre,
Sydney
866
175
Contending with Present Pasts: On
Developing South-East Asian Art Histories
Michelle Antoinette, Research School
of Pacific and Asian Studies, Australian
National University, Canberra
870
176
Picturing Early Twentieth-Century Sino-
Japanese Art Relations in
Õmura
Seigai s
Shina Rekiyu Dan : An Account of
Making Art History in the
1920s
Olivier Krischer, Tsukuba University
875
177
Why Realism? From Social Realism to
Neo-Realism in Modern Chinese Art
Yiyang Shao, Academy of Vine Arts,
Beijing
881
178
Interconnectedness of Performance
Art Festivals across and beyond Asia
Silvia
Fok Siu Har,
University of
Hong Kong
886
179
Shanghai Dream-Theatre: (Re-)Imagining
the City, the Conditions of Existence
and the New Shanghai Surreal
Thomas
J
Berghuis,
College of Fine
Arts, University of New South Wales,
Sydney
890
180
The Artist as Image Decoder:
Ni Haifeng s
Agency between Europe and China
Kitty
Zijlmans,
Leiden University
895
181
Art Histories at the Crossroads: Asian
Art in Australia
Francis
Maravillas,
University of
Technology, Sydney
900
182
A Kiss to Matisse: Strategies for
Histories of Modernism in Central
Asia. Uzbekistan in the
1920s,
Kazakhstan
in
^19805-19905
Jane A Sharp, Rutgers, State University
of New Jersey, Newark
905
183
Constructing Transnational Identities:
Paik Nam June and
Lee Ufan
Youngna Kim, Seoul National
University
910
18
Contemporaneity in Art and Its History
184
Introduction
Terry Smith, University of
Pittsburgh,
and Charles Green,
University
of
Melbourne
916
185
Writing the History of Contemporary
Art: A Distinction, Three Propositions
and Six Lines of Inquiry
Terry Smith, University of Pittsburgh
918
186
Historicity and Aboriginal Art: How
Long Will It Take for Aboriginal Art
to Become Modern?
Ian Maclean, University of Western
Australia, Perth
922
187
Contemporaneity in Inuit Art through
the Twentieth and Early Twenty-First
Centuries
Cecile Pelaudeix,
University of
Paris X, Nanterre
926
188
Topographies of Chance: Tracing the
Contemporary in
196%
France
Contents
XV
Jill
Carrick, Carleton
University,
Ottawa
931
189
Periodising Contemporary Art
Alexander Alberro, Barnard College,
New York
935
190
Global Visions, Local Contemporaneity:
Video Art in Australia
Daniel Palmer, Monash University,
Melbourne
940
191
The Atlas Effect: Constraint, Freedom
and the Circulation of Images
Charles Green, University of
Melbourne
945
192
On the
Eventai
Installation:
Contemporary Art and Politics of
Presence
Anthony Gardner, University of
Melbourne
951
19
New Media across Cultures
193
Introduction
Ross Gibson, University of
Technology, Sydney
958
194
Old Traces on a New Body
Dirk de Bruyn,
Deakin University,
Melbourne
959
195
Transience: Indigenous, Settler and
Migrant Media
Sean
Cubiti,
University of Melbourne
963
196
Imagining the Future: Issues in Writing
and Researching Art s Histories in a
Digital Age with the DAAO
Vivien Johnson and Joanna
Mendelssohn, University of
New South Wales, Sydney
968
197
Painting as New Medium: The
Reversed Canvas in Colonial Art
Richard Read, University of Western
Australia, Perth
972
198
The Fiction of Art History: Imaginary
Provenances for Media Arts in South Asia
Shuddhabrata Sengupta, Raqs Media
Collective, New Delhi
977
20
Economies of Desire: Art Collecting and
Dealing across Cultures
199
Introduction
Christopher
R
Marshall, University of
Melbourne
984
200
The Impact of Unscrupulous Dealers
on Sustainability in the Australian
Aboriginal Desert Paintings Market:
A View from the High End
Meaghan Wilson-Anastasios, University
of Melbourne, and Neil
De Marchi,
Duke University, Durham
986
201
A Fine Romance: White Money,
Black Art
Philip Batty, Melbourne Museum
991
202
The Paradox of Collecting the Other :
Percy Grainger s Collecting of Non-
Western Cultures
Belinda
Nemec,
University of
Melbourne
995
203
Art Dealing as Medium of Cultural
Transfer
Michael North, University of
Greifswald 1001
204
Crossing Thresholds: The Hybrid
Identities of Late Nineteenth-Century
Art Dealers
Christian Huemer, City University
of New York and Getty Research
Institute, Los Angeles
1007
205
Small Mirrors to Large Empires:
Towards a Theory of Meta-Museums
in Contemporary Art
Khadija
Z
Carroll, Harvard University
1012
206
Framing Fusion: Varieties of Collecting
and Display at the
Museo
Poldi Pezzoli,
Milan
Christopher
R
Marshall, University of
Melbourne
1017
207
On Art Collecting in Argentina, or
How the Pre-Columbian Past Became
an Object of Desire
Maria Isabel
Baldassare, University
of Buenos Aires
1022
21
New Museums across Cultures
208
Introduction
Jonathan Sweet, Deakin University,
Melbourne
1028
209
The Modern Museum in China
Zhang Gan, Tsinghua University,
Beijing
1032
210
The Uncanny Space of Daniel
Libeskind s Jewish Museum
Julia Walker, University of
Pennsylvania, Philadelphia
1036
211
New Museums: Institutionalisation of
Contemporary Art in Central Europe.
Crossing Inspirations
Katarzyna Jagodzińska,
International
Cultural Centre, Cracow
1040
212
Problematics of
Postcolonial
Dislo¬
cation in the Case of the National
Museum of Contemporary Art in
Bucharest
Cristina
Albu,
University of
Pittsburgh
1045
XVI
Contents
213
Out of Context: Towards Presentation
of Japanese Art in Western Museums
Chiaki Ajioka, University of Sydney
1051
214
Constructing Tribal Architectures and
Identities in Native American Museums
and Cultural Centres
Anne L
Marshall, University of Idaho,
Moscow, ID
1055
215
Creating Cultural Citizenship out of
Contemporary Art at the National
Museum of the American Indian?
Kylie
Message, Australian National
University, Canberra
1061
216
The Cosmopolitan Museum (of Art)
Milan
Kreuzzieger,
Centre of Global
Studies, Prague
1067
22
Repatriation
217
Introduction
Dario Gamboni,
University of Geneva
1072
218
Art History and Repatriation: A Case
of Mutual Illumination?
Dario Gamboni,
University of Geneva
1074
219
Shrewd Calculations
Kenneth Lapatin, John Paul Getty
Museum, Los Angeles
1079
220
Repatriating Sanctity, or I low the
Dukes ot Bavaria Rescued Saints
during the Reformation
Jeffrey Chipps Smith, University
of Texas, Austin
1084
221
Alexander Neumann (Bielitz
1861 —
Wellington
1947):
Portfolio in Exile
Andrew Leach, University of
Queensland, Brisbane
1090
222
Repatriation Ante
Patria:
Repatriating
for Tibet
Kavita Singh,
Jawaharlal
Nehru
University, New Delhi
1094
223
Returning Veronese s The Wedding
at
Cana
to Venice: Some Issues Con¬
cerning Originality and Repatriation
Adam Lowe, artist, United Kingdom
1100
224
Arbitration and Mediation as
Alternative Resolution Mechanisms in
Disputes Relating to the Restitution of
Cultural Property
Marc-André Kenold,
University of
Geneva Law School
1104
Index of Authors
1107
|
| adam_txt |
Contents
Preface
]
ay
nie
Anderson, Convenor of the 32nd
International Congress in the History of Art
xvii
10
11
12
13
4
14
15
1
A Melbourne Conversation at the Town
Hall on Art, Migration and Indigeneity:
What Happens when Cultures Meet?
1
An Introduction to the Conversation
Gerard Vaughan, Director of the National
Gallery of Victoria, Melbourne
2
2
Playing between the Lines: The Melbourne
Experience of Crossing Cultures
Jaynie Anderson, University of
Melbourne
4
3
Art in Transit: Give and Take in Dutch Art
Ronald
de Leeuw,
Director of the
Rijksmuseum,
Amsterdam
10
4
Found in Translation
Howard Morphy, Australian National
University, Canberra
18
5
Home and Away: Works of Art as
Citizens and Migrants
Michael Brand, Director of the ]ohn Paul
Getty Museum, Los Angeles
21
6
The Travels of a Mi'kmaq Coat:
A Nineteenth-Century World Art History
and Twenty-First-Century Cultural Politics
Ruth
В
Phillips,
Carleton
University,
Ottawa
26
Creating Perspectives on
Global Art History
Joe Burke's Legacy: The History of Art
History in Melbourne
Andrew Grimwade, Chairman of the
Felton
Bequest and
Ufe
Member of the
Miegunyah fund
32
The Art of Being Aboriginal
Marcia
Langton,
University of
Melbourne
35 19
On Global Memory: Reflections on
Barbaric Transmission
Homi
K Bhabha,
Harvard University
46
Art Histories in an Interconnected World:
Synergies and New Directions
Beyond the National, inside the Global:
New Identity Strategies in Asian Art in
the Twenty-First Century
John Clark, University of Sydney
58
Not Just Images but Art: Pragmatic
Issues in the Movement towards a More
Inclusive Art History
Howard Morphy, Australian National
University, Canberra
60
The World at Stake:
США
after Melbourne
Jaynie Anderson, University of
Melbourne
63
Global Collections for Global Cities
Neil McGregor, Director of the British
Museum, London
65
The Idea of World Art History
Introduction
1
Thomas DaCosta
Kaufmann,
Princeton University
12
Introduction
2
Peter
J
Schneemann, Institut für
Kunstgeschichte, Bern 75
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?
John Onians, University of East
Anglia,
Norwich
78
Towards Horizontal Art History
Piotr Piotrowski, Adam Mickiewicz
University,
Poznah
82
Global Aspects on Johnny Roosval
s
Concept of the Artedominium
Jan von Bonsdorff,
Uppsala University
86
Putting the World in a Book: How
Global Can Art History Be Today?
Parul
D Mukherji,
Jawaharlal
Nehru
University,
New Delhi
91
17
18
VIH
Contents
Empirical Perspectives
20
From Ideology to Universal Principles:
Art History and the Visual Culture of the
Balkans in the Ottoman Empire
Ne nad Makuljević,
University of
Belgrade
98
21
From Nation via Immigration to World
Art: Concepts and Methods of
Brazílián
Art Theory
Jens Baumgarten,
Universidade
Federal
de São
Paulo
104
22
Universalism
and Utopia: Joseph Beuys
and
Alighiero Boetti
as Case Studies for
a World Art History
Nicola
Müllerschön, Institut für
Kunstgeschichte, Bern
111
23 Genius
Loci: The Revenge of the Good
Savage?
Carmen Popescu,
André Chastel
Research
Centre, Paris, and New Europe College,
Bucharest
116
24
A Survey of the Current State of Art
History in China
Shao Dazhen, Central Academy of
Fine Arts, Beijing
121
25
Recent Study in Ancient Chinese Art
History in China
Yan Zheng, Central Academy of
Fine Arts, Beijing
124
26
Objects without Borders: Cultural Eco¬
nomy and the World of Artefacts
Jennifer Purtle, University of Toronto
127
5
Fluid Borders: Mediterranean Art Histories
27
Fluid Borders, Hybrid Objects: Mediter¬
ranean Art Histories
500-1500,
Questions
of Method and Terminology
Gerhard Wolf,
Kunsthistorisches
Institut,
Fbrence
134
28
Building Identities: Fluid Borders and
an 'International Style' of Monumental
Architecture in the Bronze Age
Louise A Hitchcock, University of
Melbourne
29
Byzantine Art in Italy: Sixth-Century
Ravenna as a Matrix of Confluence?
Felicity Harley McGowan,
University of Melbourne
144
30
'Image-Paradigms' as a Category of
Mediterranean Visual Culture: A Hiero-
topic Approach to Art History
AlexeiLidov, Research Centre for
Eastern Christian Culture, Moscow
148
31
The 'Golden Age' in Al-Andalus as
Remembered, or How Nostalgia
Forged History
Avinoam Shalem, University of Munich
and
Kunsthistorisches Institut,
Florence
154
32
Fluid Picture-Making across Borders,
Genres, Media: Botanical Illustration
from Byzantium to Baghdad, Ninth to
Thirteenth Centuries
Alain Touwaide, National Museum of
Natural History, Smithsonian Institution,
Washington, DC
159
33
Greek Painters Working for Latin and
Non-Orthodox Patrons in the Late
Medieval Mediterranean: Some
Preliminary Remarks
Michele
Bacei,
University of Siena
164
34
Sailing through Time and Space: How
Cyriacus of
Ancona
Rediscovered the
Classical Past
Marina Belozerskaya, independent
scholar, Los Angeles
169
35
Multi-Ethnic Rome and the Global
Renaissance: Ethiopia, Armenia and
Cultural Exchange with Rome during
the Fifteenth Century
Christiane Esche-Ramshorn,
University of Cambridge
\1Ъ
6
Hybrid Renaissances in Europe and Beyond
36
Introduction
Luke Morgan, Monash University,
Melbourne, and Philippe
Sénéchal,
University ofPicardy, Amiens
180
37
Hybrid Renaissance in Burgundy
Frederic
Eist
'g,
University of Geneva
182
38
Heterotopia in the Renaissance: Modern
Hybrids as Antiques in
Bramante
and
Cima da
Conegliano
Lorenzo
Pericolo,
Université
de Montréal
186
39
'Gran Cosa è Roma: The
Noble
Patronage
of Architecture in Early
Sixteenth-Century Portugal
Luisa
frança Luzio,
Institute of Art
History, UNL-FCSH, Lisbon
192
40
A Bastard Renaissance?
Benedikt Ried,
Master IP and the Question of Renais¬
sance in Central Europe
Pavel
Kalina,
Czech Technical University,
Prague
199
41
Difference, Repetition and Utopia:
Early Modern Print
s New
Worlds
Christopher
Ρ
Heuer,
Princeton
University
203
42
The Carnivalesque Renaissance
John Gregory, Monash University,
Melbourne
209
Contents
їх
43
'Opinione Contraria
':
The Anatomy
of
Pathos in
an Early Drawing by
Rosso
Fiorentino
Vivien Gaston,
University of
Melbourne
216
44
The Hermaphrodite in the Garden
Luke Morgan, Monash University,
Melbourne
222
45
Refraining the Renaissance Problem
Today: Developing a Pluralistic
Historical Vision
Claire
Faragó,
University of Colorado,
Boulder
227
46
Do We Still Need a Renaissance?
Keith Moxey, Barnard College,
Columbia University, New York
233
7
Cultural and Artistic Exchange in the
Making of the Modern World,
1500-1900
47
Introduction
Larry Silver, University of Pennsylvania,
Philadelphia, and Charles
Zika,
University of Melbourne
240
48
Cultures and Curiosity
Larry Silver, University of Pennsylvania,
Philadelphia
242
49
Human Sacrifice as Symbolic Capital:
Images of the Violated Aztec Body
for a Changing World,
1500-1900
and Beyond
Cecilia
F
Klein, University of California,
Los Angeles
247
50
Public Identity and Material Culture in
Dutch
Batavia
Dawn Odell, Lewis and Clark College,
Portland
253
51
'Exposure to Your Ways': China,
the Dutch and Early Modern Vision
Julie Hochstrasser, University of Iowa
258
52
The Global Rembrandt
Catherine
В
Scallen, Case Western
Reserve University, Cleveland
263
53
Images of Bathing Women in Early
Modern Europe and Turkey
Patricia Simons, University of
Michigan
267
54
Global Encounters: Conventions and
Invention in Hans Burgkmair's Images
of Natives of Africa, India and the
New World
Ashley West, University of Pennsylvania,
Philadelphia
272
55
Patterns of Domestication: Exotic
Animals, Plants and People in Australian
and European Decorative Arts
Dagmar Eichberger,
University of
Heidelberg
279
56
Dressing Up like the Cannibals?
Adriaen
Hanneman 's
Portrait of
Princess Mary Stuart in
a Tupi
Feather Cape
Rebecca Parker Brienen, University
of Miami
285
57
Tupi Featherwork
and the Dynamics
of Intercultural Exchange in Early
Modern Brazil
A my
J
Buono,
Southern Methodist
University, Dallas
291
58
The Visual Subplot: Local Art,
Global Trade and the Socio-Ethics
of Exchange, Amsterdam
1580-1680
Elisabeth
de Bièvre,
independent
scholar, UK
296
59
Visual Elaborations:
Fausto
Zonaro's
Ottoman'
Self-Portraits
Mary Roberts, University of Sydney
300
60
The Brush and the Burin: Mogul
Encounters with European Engravings
Yael Rice, University of Pennsylvania,
Philadelphia
305
61
Imperial Exchanges of Goods and
National Identities: Victorian and
Swadeshi Views of Crafts under the Raj
Julie Codell, Arizona State University,
Tempe
311
62
'A Glance into a New World': Three
Approaches to Japan, by Christopher
Dresser, Siegfried
Bing
and Justus
Brinckmann
Rüdiger
Joppien, Museum
für Kunst
und Gewerbe, Hamburg 316
63 George
French
Angas: Colonial
Artist
at Large
Philip Jones, South Australian Museum,
Adelaide
322
64
The Wanderer, the Slave and the
Aboriginal: Augustus Earle in Rio
de
Janeiro and Sydney in the 1820s
Sarah Thomas, University of Sydney
328
65
Exchange, Gifting, Identity and Writing
History in
Fin-de-Siècle
Tahiti
Elizabeth
С
Chads, Washington
University, St Louis
334
8
Representations of Nature across Cultures
before the Twentieth Century
66
Introduction
Frederick Asher, University of Minnesota,
and Htdemichi Tanaka, International
University, Akita
340
67
Capturing Nature's Inner Truth:
The 'True-View' Concept in China,
Korea and Japan
Khanh Trinh, Art Gallery of New South
Wales, Sydney
342
68
Beauty and Truth in Nature: Japan
and the West
Gary Hickey, University of Melbourne
and University of Queensland, Brisbane
347
69
Landscape as Placeness in the Art
of India
Frederick Asher, University of
Minnesota
352
70
Exoticism at Home: The Artist as
Explorer in Nineteenth-Century Sweden
Bengt Lärkner, Linköping
University
357
9
The Sacred across Cultures
71
Introduction
Robert
Gaston,
La Trobe University,
Melbourne
362
72
Plato's Dilemma: Art, Religion
and Amnesia
Donald
Preziosi,
University of Oxford
and University of California,
Los Angeles
364
73
'Strangers in a Strange New Land':
How the Immigrant, the Coloniser and
the Conqueror Used Sacred Architecture
to Establish Identity
Ann Thomas Wilkins,
Duque
sne
University, Pittsburgh, and David
G Wilkins,
University of Pittsburgh
370
74
Holy Topographies: Aboriginal Art from
the Desert Regions and Its Spiritual
Relation to Western Perceptual Painting
Robert Nelson, Monash University,
Melbourne
375
75
Visualising Ancestor Spirits: Name
Tablets or Portraits?
Insoo Cho, Korean National University
of the Arts, Seoul
380
76
Houses of God, Gates of Heaven,
Doors of Grace: Changes in Perception
of Lutheran Church Interiors as
'Holy Places'
Marcin Wisłocki,
University of
Wrocław
384
77
Secular Florentines and Sacred Images
Dale Kent, University of California,
Riverside
389
78
'God Is Love': Representations of
Christianity in Indigenous Art from
Ngukurr, South-East
Arnhem
Land
Cath Bowdler, Australian National
University, Canberra
393
79
Sacred Country: Ancient Footprints,
New Pathways
Donna Leslie, Monash University,
Melbourne
398
80
A New Conceptualisation of Australian
Religious Iconography: The Case of
David Wright
Peter French, University of Melbourne
403
81
From Silence to Multiple Incorporation:
Art and Afro-Brazilian Religions
Roberto Conduru, State University
of
Rio de
Janeiro
408
82
Trees Growing in the Wilderness and
Statues of Miracle-Working Madonnas
Zirka
Z Filipczak,
Williams College,
Williamstown, MA
413
83
A Case of Spiritual Colonisation? The
Production and Reception History of a
Contentious Altarpiece in
Jukkasjärvi
Church in Lapland, Sweden
Britt-Inger
Johansson, UppsaL· University
and the National Museum of Sweden,
Stockholm
419
84
Chartres, Chichester
and Ajanta:
The Neo-Medievalism of Eric Gill
Irena Kossowska,
Polish Academy of
Sciences, Warsaw, and Copernicus
University, Torun
424
85
A Pantheon Rediscovered?
Naman
Ρ
Ahuja,
Jawaharlal
Nehru
University, New Delhi
429
86
Sanctity at the Interstices of Fine Art
and Popular Culture: The Case of Ester
Heleni
us
Tutta
Palin,
University of Helsinki
438
87
Intersections of Time and Place in
Books of Hours
Bronwyn Stocks, Monash University,
Melbourne
442
88
A Form of Succession
Junko Ninagawa, Kansai University,
Suita-Shi
448
89
A New Plague Saint for Renaissance
Italy: Suffering and Sanctity in Narra¬
tive Cycles of Saint
Roch
Louise Marshall, University of Sydney
453
90
Sites of Convergence and Divergence:
Private Devotional Sites in Seventeenth-
Century Rome
Glenys
L
Adams, University of
Melbourne
459
10
Materiality across Cultures
91
Introduction
David Bomford, John Paul Getty Museum,
Contents
Xl
Los Angeles, and
Alison
lnglis,
University of
Melbourne 466
92 Lapis
Lazuli: Moving Stones at the
Heart of Power
Spike Bucklow, Hamilton Kerr Institute,
University of Cambridge
468
93
Materials, Origins and the Nature of
Early Italian Painting
Anne Dunlop, Yale University,
New Haven All
94
Routes and Meaning: The Use of Red
Marble in Medieval Central Europe
PálLövei,
National Office for the Pro¬
tection of Cultural Heritage, Budapest
477
95
Alabastrům
Effoditur Pulcherrimum and
Candissimum: The Influence of Imported
Southern Netherlandish Sculpture on the
Reception of Alabaster in Central Europe
in the Sixteenth Century
Aleksandra Lipińska,
University
of
Wrocław
482
96
Mosaic Dreaming: Materiality,
Migration and Memory
Joan Barclay Lloyd, La Trobe University,
Melbourne, and Alison
lnglis,
University
of Melbourne
487
97
Outsiders' and
Arnhem
Landers'
Material Exchanges
Louise Hamby, Australian National
University, Canberra
493
98
Painting Practice in the Philippines:
Two Institutionalised Practices and
Their Materials and Techniques
Nicole
lse,
Ana Maria Theresa Labrador
and
Roby
η
Sloggett, University of
Melbourne
498
99
A Convergence of Cultures: Max
Meldrum's Art Theory and Practice
Alexandra
Ellem,
University of
Melbourne
507
100
The
Gamelan:
Melding Conservation
Issues with Javanese Spiritual Beliefs
Holly Jones-Amin,
University
of
Melbourne
514
11
Memory and Architecture
101
Introduction
Deborah Howard, University of
Cambridge, and Philip Goad, Uni¬
versity of Melbourne
520
102
Multiple Memories: Lives of the
Taj Mahal
Catherine
В
Asher, University of
Minnesota
522
103
The Alhambra in Granada and the
Memory of Its Islamic Past
Francine Giese-Vögeli,
University
of Bern
529
104
Curzon, Kedelston
and Government
House, Calcutta
Sten Åke Nilsson, Lund
University
532
105
Remembering the Middle Ages:
Responses to the Gothic Revival in
Colonial New Zealand
Ian Lochhead, University of Canterbury,
Christchurch
536
106
Travelling within Memory: Vicarious
Travel and Imagined Voyages
Nicole Sully, University of Queensland,
Brisbane
541
107
Moving Finnish Houses: The Knowl¬
edge of Objects in Former Finnish
Karelia
Renja Suominen-Kokkonen,
University of Helsinki
545
108
Nation, Style, Memory: The Cracow
Experience
Jacek Purchla,
International
Cultural Centre, Cracow
550
109
Komar
and Melamid: The Future
Memory of International Modernism
Joe A Thomas, Kennesaw State
University
556
110
Traces of Utopia: On the Archi¬
tectural Renderings Published in
Kunst¬
wissenschaftliche Forschungen,
с.
1933
Justine Price, Canisius College, Buffalo
562
111 Marks and Rembrancers: Alison and
Peter
Smithson
's
Architectural Memory
Ryan Johnston, University of
Melbourne
567
112
A Strange Case of Cultural Borrowing:
The Australian Pavilion at Expo
'70,
Osaka
Carolyn Barnes and Simon Jackson,
Swinburne University of Technology,
Melbourne
574
113
Analogous Landscapes
Hannah Lewi, University of
Melbourne
580
12
Art and Migration
114
Introduction
Joan Barchy Lloyd, La Trobe University,
Melbourne, and Stephen
Bann,
University of Bristol
586
115
Migration of Elements of Islamic Art into
Italy from Spain and the Balearic Islands
in the Fourteenth Century
Gottfried Kerscher, University of Trier
588
116 Mahmud al-Kurdi
and His Italian
Customer
XU
Contents
Stefano
Carboni,
Metropolitan Museum
of
Art, New York 592
117
The Gypsies and Their Impact on
Fifteenth-Century Western European
Iconography
Erwin Pokorny,
University of Vienna
597
118
The
École de
Paris, Inside and Out:
Reconsidering the Experience of the
Foreign Artist in Interwar France
Kate Kangaslahti, Nanyang Techno¬
logical University, Singapore
602
119
Polish Artists in France
1918-39:
The
Discussion Concerning National Art
Anna Wierzbicka, Polish Insitute of Art,
Academy of Sciences, Warsaw
607
120
Koji Kamoji:
A Bridge between Haiku
and Christian Mysticism
hukasz Kossowski,
Museum of Litera¬
ture, Warsaw
613
121
The Role of International Exhibitions
in the Diffusion of a Global Memory
Martine Bouchier, Paris-Val de
Seine,
National Advanced School of Architec¬
ture, LOUEST-CNRS No.
7145 617
122
Displaced Objects, Objects in Exile?
Changing Virtues of Cameroon Objects
in the West
Alexandra Loumpet-Galitzine,
University of Yaounde I, Cameroon
621
123
Landscapes of Imagination: Migration
and Place in Contemporary Iranian Art
Alisa Eimen,
Minnesota State University,
Mankato
625
124
Moving Pictures: Art, Ireland and
Migration
Yvonne Scott, Trinity College,
Dublin 630
125
Multiplicity of Artistic Migration in the
Representation of Return: The Odyssey,
Hebdomeros and Postmodernity in the
Art of Giorgio
de Chineo
Mayumi Abe, National Art Center,
Tokyo
635
13
Art and War
126
Introduction
Nigel Lendon, Australian National
University, Canberra, and Thierry
Dufrêne, Institut
National
d'Histoire
de l'Art, Paris
642
127 Bartholomäus
Strobel
the Younger
and the Thirty Years War
Jan Harasimowicz, University of
Wrodaw
643
128
Landscape and the Memory of War
Catherine Speck, University of
Adelaide
649
129
Vasily Vereshchagin's Campaign:
Colonial War and Representations of
Russia's Others
Natasha Medvedev, University of
California, Los Angeles
654
130
Feature Films and the Shock of the
Real: Regarding Wartime Documents
in Art-House Cinema and Beyond
Wolfgang Briickle, University
ofEssex
659
131
Surviving War: Uniting the Nation in
Postwar Finnish Mural Paintings
Johanna Ruohonen, University of
Turku
665
132
Complicities: Abu Ghraib, Contempo¬
rary Art and the Currency of Images
Morgan Thomas, University of
Canterbury, Christchurch
669
133
Pyrotechnics: From War to Art and Back
Thierry
Dufrêne,
Instituí
National
d'Histoire de l'Art, Paris
673
134
Beauty and Horror: Identity and Con¬
flict in the War Carpets of Afghanistan
Nigel Lendon, Australian National
University, Canberra
678
135
Media/ting Conflict: Iranian Posters
of the Iran—Iraq War
Christiane
J
Gruber,
Indiana University,
Bloomington
684
136
Art in the Face of 'the Project for the
New American Century': A Postmodern
Rake's Progress
Dick Averns, Alberta College of Art
and Design, Calgary
690
14
Art and Clashing Urban Cultures
137
Introduction
Peter
Krieger,
Instituto de Investi¬
gaciones Estéticas, Universidad Nacional
Autónoma de México,
Mexico
City
698
138
Manet's
Le Déjeuner
sur l'herbe:
Resisting the Parisian 'Non-Place'
during Haussmannisation
Bradley
Fratello,
St
Louis Community
College, Meramec
700
139
Air Travel and Omnipresent Disaster
Melissa Laing, University of Sydney
705
140
Changing Politics, Changing
Cityscapes:
Redesigning, Redefining and Contesting
Public Space in Post-Communist Central
Europe
Arnold Bartetzky, University of
Leipzig
709
141
Redfern Resistance
Catherine
de
Lorenzo, University of
New South Wales, Sydney
W
Contents
хш
142
Urban Bush Bashing? Some Indigenous
Artists' Responses to the Australian
Government's Emergency Intervention
in the Northern Territory
Susan howish, University of
Melbourne
718
15
Global Modern Art: The World Inside Out
and Upside Down
143
Introduction
Andrea
Giunta,
University
of Texas,
Austin, and Anthony White, University
of Melbourne
724
144
Art and Nation: To Rome and Back
Laura Malosetti Costa, University of
buenos
Aires
726
145
That Arid Feeling for the Burnt Bush':
Giorgio
de Chirico's
Wandering Jew,
Metaphysical Painting and 'Semitic
Atavism'
Ara H
Merjian, Stanford University
730
146
Wounded:
Lucio Fontana's
Wartime
Sculpture in Italy and Argentina
Anthony White, University of
Melbourne
734
147
Surrealism in the Antipodes: On
James Gleeson's Exile
David Lomas,
University of
Manchester
739
148
From Constructivism to Pop:
Avant-
Garde
Practices in Brazil, Britain and
North America between the
1950s
and
1960s
Michael Asbury, Camberwell College
of Art, London
743
149
Picasso's Guernica in Latin America
Andrea
Giunta,
University of Texas,
Austin
747
150
'Much More than Parrots and Banana
Trees': The Art of
Hélio Oiticica
in the
1960s
Maria
de Fátima
Morethy
Couto,
University of Campinas (UNICAMP)
751
151
'From Rio del Plata to the Seine' and
Back: Pierre Restany and
Damián Bayón
Isabel
Plante,
University of
Buenos Aires
755
152
Our Old Koroua Picasso: Maori
Modernist Art in Aotearoa New Zealand
Damian
Skinner, Gisborne
760
153
Pilgrimage and Periphery: Robert
Smithson
's
Spiral Jetty and the Discourse
of Tourism
Chris McAuliffe, University of
Melbourne
765
16
Indigeneity/Aboriginality, Art/Culture and
Institutions
154
Introduction
Jonathan Mane-Wheoki, Museum of New
Zealand
Te Papa
Tongarewa, Wellington
770
155
Belonging and Homelands: Negotiating
Identity in Aotearoa, New Zealand
Caroline Vercoe, University of
Auckland
773
156
Between the Indigenous and the Exotic:
Landscapes of Hokkaido and the Russian
Far East
Hisashi Yakou, Hokkaido University,
Sapparo
111
157
The Reclamation of South-East
Australian Aboriginal Arts Practices
Vicki Couzens, Kaawirn Kuunawarn
Hissing Swan Arts, Port Fairy, and Fran
Edmonds, University of Melbourne
781
158
Indigenous Material Culture in the
Digital Age
Lyndon Ormond-Parker, University
of Melbourne
786
159
'My Art Talks about Link':
The Peregrinations of Yolngu Art
in a Globalised World
Jessica
de
Largy Healy,
University of
Melbourne and
Ecole des Hautes
Études en Sciences Sociales, Paris
791
160
Performing Landscape and
Memory:
Gija
Local and Global Art Circulation
Arnaud
Morván,
University of
Melbourne
and
École des Hautes Études en Sciences
Sociales, Paris
797
161
Postcolonial
Pasts and Post-Indigenous
Futures? A
Critical Genealogy of
Museums and 'Maori Art'
Conal McCarthy, Victoria University,
Wellington
803
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
Stephanie Pratt, University of
Plymouth
809
163
A Crisis of Identity: Australian Indigenous
Culture,
Primitivism
and Modernism
in 'Recent Australian Painting' at the
Whitechapel Art Gallery,
1961
Sarah Scott, Charles Darwin University,
Darwin
814
164
Circuit Breaking? Indigenous
Australian Art and Critical Discourse
Julie Gough and Stephen Nay lor,
James Cook University, Queensland
820
XIV
Contents
165
Aboriginalities
and Nationalities: Shaping
Art History in the
Postcolonial
Museum
Anne Whitelaw, university of Alberta,
Edmonton
825
17
Parallel Conversions: Asian Art Histories in
the Twentieth and Twenty-First Centuries
166
Introduction
Toshiharu Omuka, University of
Tsukuba, Tokyo, and John Clark,
University of Sydney
830
167
The Concept of 'Art' in Japan and
International Expositions of the Meiji
Period
Shimura Shako, Tokyo Zokei
University
832
168
Takeuchi
Seihö, Chigusa
Sõun,
and John
Ruskin 's
Modern Painters: Reconciling
Realism with Japanese Painting,
1900-1910
John
D
Szos tak,
University of Hawaii,
Mãnoa
837
169
Amrita Sher-Gil: Transformation of the
Pre-Modern to the Modern in Early
Twentieth-Century Indian Art
Yashodara Dalmia, independent schoUr,
New Delhi
842
170
Global Consciousness in Yoga Self-
Portraiture
Bert Winther-Tamaki, University of
California, Irvine
847
171
Realism as a Tool of National Moderni¬
sation in the Reformist Discourse of Late
Nineteenth- and Early Twentieth-
Century China
Francesca
dal Lago,
Leiden
University
852
172
New Categories, New History: 'The
Preliminary Exhibition of Chinese Art'
in Shanghai,
1935
Hui Guo,
Leiden University
857
173
Alternative Fashion Histories: Sartorial
Modernity in East Asia
Toby
Slade,
University of Sydney
861
174
The Impact of Censorship, Conflict and
the Diaspora on Vietnamese Art History
Annette van den Bosch, Deakin University,
Melbourne, and Boitran Huynh-Beattie,
Curator,
Casula
Powerhouse Art Centre,
Sydney
866
175
Contending with Present Pasts: On
Developing South-East Asian Art Histories
Michelle Antoinette, Research School
of Pacific and Asian Studies, Australian
National University, Canberra
870
176
Picturing Early Twentieth-Century Sino-
Japanese Art Relations in
Õmura
Seigai's
'Shina Rekiyu Dan': An Account of
Making Art History in the
1920s
Olivier Krischer, Tsukuba University
875
177
Why Realism? From Social Realism to
Neo-Realism in Modern Chinese Art
Yiyang Shao, Academy of Vine Arts,
Beijing
881
178
Interconnectedness of Performance
Art Festivals across and beyond Asia
Silvia
Fok Siu Har,
University of
Hong Kong
886
179
Shanghai Dream-Theatre: (Re-)Imagining
the City, the Conditions of Existence
and the New Shanghai Surreal
Thomas
J
Berghuis,
College of Fine
Arts, University of New South Wales,
Sydney
890
180
The Artist as Image Decoder:
Ni Haifeng's
Agency between Europe and China
Kitty
Zijlmans,
Leiden University
895
181
Art Histories at the Crossroads: 'Asian'
Art in Australia
Francis
Maravillas,
University of
Technology, Sydney
900
182
A Kiss to Matisse: Strategies for
Histories of Modernism in Central
Asia. Uzbekistan in the
1920s,
Kazakhstan
in
^19805-19905
Jane A Sharp, Rutgers, State University
of New Jersey, Newark
905
183
Constructing Transnational Identities:
Paik Nam June and
Lee Ufan
Youngna Kim, Seoul National
University
910
18
Contemporaneity in Art and Its History
184
Introduction
Terry Smith, University of
Pittsburgh,
and Charles Green,
University
of
Melbourne
916
185
Writing the History of Contemporary
Art: A Distinction, Three Propositions
and Six Lines of Inquiry
Terry Smith, University of Pittsburgh
918
186
Historicity and Aboriginal Art: How
Long Will It Take for Aboriginal Art
to Become Modern?
Ian Maclean, University of Western
Australia, Perth
922
187
Contemporaneity in Inuit Art through
the Twentieth and Early Twenty-First
Centuries
Cecile Pelaudeix,
University of
Paris X, Nanterre
926
188
Topographies of Chance: Tracing the
'Contemporary' in
196%
France
Contents
XV
Jill
Carrick, Carleton
University,
Ottawa
931
189
Periodising Contemporary Art
Alexander Alberro, Barnard College,
New York
935
190
Global Visions, Local Contemporaneity:
Video Art in Australia
Daniel Palmer, Monash University,
Melbourne
940
191
The Atlas Effect: Constraint, Freedom
and the Circulation of Images
Charles Green, University of
Melbourne
945
192
On the
'Eventai'
Installation:
Contemporary Art and Politics of
Presence
Anthony Gardner, University of
Melbourne
951
19
New Media across Cultures
193
Introduction
Ross Gibson, University of
Technology, Sydney
958
194
Old Traces on a New Body
Dirk de Bruyn,
Deakin University,
Melbourne
959
195
Transience: Indigenous, Settler and
Migrant Media
Sean
Cubiti,
University of Melbourne
963
196
Imagining the Future: Issues in Writing
and Researching Art's Histories in a
Digital Age with the DAAO
Vivien Johnson and Joanna
Mendelssohn, University of
New South Wales, Sydney
968
197
Painting as New Medium: The
Reversed Canvas in Colonial Art
Richard Read, University of Western
Australia, Perth
972
198
The Fiction of Art History: Imaginary
Provenances for Media Arts in South Asia
Shuddhabrata Sengupta, Raqs Media
Collective, New Delhi
977
20
Economies of Desire: Art Collecting and
Dealing across Cultures
199
Introduction
Christopher
R
Marshall, University of
Melbourne
984
200
The Impact of Unscrupulous Dealers
on Sustainability in the Australian
Aboriginal Desert Paintings Market:
A View from the High End
Meaghan Wilson-Anastasios, University
of Melbourne, and Neil
De Marchi,
Duke University, Durham
986
201
A Fine Romance: White Money,
Black Art
Philip Batty, Melbourne Museum
991
202
The Paradox of Collecting the 'Other':
Percy Grainger's Collecting of Non-
Western Cultures
Belinda
Nemec,
University of
Melbourne
995
203
Art Dealing as Medium of Cultural
Transfer
Michael North, University of
Greifswald 1001
204
Crossing Thresholds: The Hybrid
Identities of Late Nineteenth-Century
Art Dealers
Christian Huemer, City University
of New York and Getty Research
Institute, Los Angeles
1007
205
Small Mirrors to Large Empires:
Towards a Theory of Meta-Museums
in Contemporary Art
Khadija
Z
Carroll, Harvard University
1012
206
Framing Fusion: Varieties of Collecting
and Display at the
Museo
Poldi Pezzoli,
Milan
Christopher
R
Marshall, University of
Melbourne
1017
207
On Art Collecting in Argentina, or
How the Pre-Columbian Past Became
an Object of Desire
Maria Isabel
Baldassare, University
of Buenos Aires
1022
21
New Museums across Cultures
208
Introduction
Jonathan Sweet, Deakin University,
Melbourne
1028
209
The Modern Museum in China
Zhang Gan, Tsinghua University,
Beijing
1032
210
The Uncanny Space of Daniel
Libeskind's Jewish Museum
Julia Walker, University of
Pennsylvania, Philadelphia
1036
211
New Museums: Institutionalisation of
Contemporary Art in Central Europe.
Crossing Inspirations
Katarzyna Jagodzińska,
International
Cultural Centre, Cracow
1040
212
Problematics of
Postcolonial
Dislo¬
cation in the Case of the National
Museum of Contemporary Art in
Bucharest
Cristina
Albu,
University of
Pittsburgh
1045
XVI
Contents
213
Out of Context: Towards Presentation
of Japanese Art in Western Museums
Chiaki Ajioka, University of Sydney
1051
214
Constructing Tribal Architectures and
Identities in Native American Museums
and Cultural Centres
Anne L
Marshall, University of Idaho,
Moscow, ID
1055
215
Creating Cultural Citizenship out of
Contemporary Art at the National
Museum of the American Indian?
Kylie
Message, Australian National
University, Canberra
1061
216
The Cosmopolitan Museum (of Art)
Milan
Kreuzzieger,
Centre of Global
Studies, Prague
1067
22
Repatriation
217
Introduction
Dario Gamboni,
University of Geneva
1072
218
Art History and Repatriation: A Case
of Mutual Illumination?
Dario Gamboni,
University of Geneva
1074
219
Shrewd Calculations
Kenneth Lapatin, John Paul Getty
Museum, Los Angeles
1079
220
Repatriating Sanctity, or I low the
Dukes ot Bavaria Rescued Saints
during the Reformation
Jeffrey Chipps Smith, University
of Texas, Austin
1084
221
Alexander Neumann (Bielitz
1861 —
Wellington
1947):
Portfolio in Exile
Andrew Leach, University of
Queensland, Brisbane
1090
222
Repatriation Ante
Patria:
Repatriating
for Tibet
Kavita Singh,
Jawaharlal
Nehru
University, New Delhi
1094
223
Returning Veronese's The Wedding
at
Cana
to Venice: Some Issues Con¬
cerning Originality and Repatriation
Adam Lowe, artist, United Kingdom
1100
224
Arbitration and Mediation as
Alternative Resolution Mechanisms in
Disputes Relating to the Restitution of
Cultural Property
Marc-André'Kenold,
University of
Geneva Law School
1104
Index of Authors
1107 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author2 | Anderson, Jaynie |
| author2_role | edt |
| author2_variant | j a ja |
| author_GND | (DE-588)105368536X |
| author_facet | Anderson, Jaynie |
| building | Verbundindex |
| bvnumber | BV035186772 |
| ctrlnum | (OCoLC)634063159 (DE-599)BVBBV035186772 |
| edition | 1. publ. |
| format | Conference Proceeding Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02080nam a2200421 c 4500</leader><controlfield tag="001">BV035186772</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20140717 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">081128s2009 ab|| |||| 10||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780522855005</subfield><subfield code="9">978-0-522-85500-5</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)634063159</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV035186772</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-19</subfield><subfield code="a">DE-703</subfield><subfield code="a">DE-188</subfield><subfield code="a">DE-Y3</subfield><subfield code="a">DE-Y2</subfield><subfield code="a">DE-255</subfield><subfield code="a">DE-Y7</subfield><subfield code="a">DE-11</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Crossing cultures</subfield><subfield code="b">conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008</subfield><subfield code="c">ed. by Jaynie Anderson</subfield></datafield><datafield tag="246" ind1="1" ind2="3"><subfield code="a">International Congress in the History of Art</subfield></datafield><datafield tag="250" ind1=" " ind2=" "><subfield code="a">1. publ.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Carlton, Vic., Australia</subfield><subfield code="b">Miegunyah Press</subfield><subfield code="c">2009</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">XVIII, 1108 S.</subfield><subfield code="b">Ill., Kt.</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Kulturkontakt</subfield><subfield code="g">Motiv</subfield><subfield code="0">(DE-588)4315384-7</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Kunst</subfield><subfield code="0">(DE-588)4114333-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Migration</subfield><subfield code="g">Motiv</subfield><subfield code="0">(DE-588)4393588-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="0">(DE-588)1071861417</subfield><subfield code="a">Konferenzschrift</subfield><subfield code="y">2008</subfield><subfield code="z">Melbourne</subfield><subfield code="2">gnd-content</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Kunst</subfield><subfield code="0">(DE-588)4114333-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Migration</subfield><subfield code="g">Motiv</subfield><subfield code="0">(DE-588)4393588-6</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Kulturkontakt</subfield><subfield code="g">Motiv</subfield><subfield code="0">(DE-588)4315384-7</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Anderson, Jaynie</subfield><subfield code="0">(DE-588)105368536X</subfield><subfield code="4">edt</subfield></datafield><datafield tag="710" ind1="2" ind2=" "><subfield code="a">International Committee on the History of Art</subfield><subfield code="e">Sonstige</subfield><subfield code="0">(DE-588)2014707-7</subfield><subfield code="4">oth</subfield></datafield><datafield tag="710" ind1="2" ind2=" "><subfield code="a">University of Melbourne</subfield><subfield code="e">Sonstige</subfield><subfield code="0">(DE-588)1025478-X</subfield><subfield code="4">oth</subfield></datafield><datafield tag="711" ind1="2" ind2=" "><subfield code="a">International Congress in the History of Art</subfield><subfield code="n">32</subfield><subfield code="d">2008</subfield><subfield code="c">Melbourne</subfield><subfield code="j">Sonstige</subfield><subfield code="0">(DE-588)16014854-6</subfield><subfield code="4">oth</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung UB Bayreuth</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016993445&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-016993445</subfield></datafield></record></collection> |
| genre | (DE-588)1071861417 Konferenzschrift 2008 Melbourne gnd-content |
| genre_facet | Konferenzschrift 2008 Melbourne |
| id | DE-604.BV035186772 |
| illustrated | Illustrated |
| index_date | 2024-07-02T23:00:04Z |
| indexdate | 2024-07-09T21:26:59Z |
| institution | BVB |
| institution_GND | (DE-588)2014707-7 (DE-588)1025478-X (DE-588)16014854-6 |
| isbn | 9780522855005 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016993445 |
| oclc_num | 634063159 |
| open_access_boolean | |
| owner | DE-19 DE-BY-UBM DE-703 DE-188 DE-Y3 DE-Y2 DE-255 DE-Y7 DE-11 |
| owner_facet | DE-19 DE-BY-UBM DE-703 DE-188 DE-Y3 DE-Y2 DE-255 DE-Y7 DE-11 |
| physical | XVIII, 1108 S. Ill., Kt. |
| publishDate | 2009 |
| publishDateSearch | 2009 |
| publishDateSort | 2009 |
| publisher | Miegunyah Press |
| record_format | marc |
| spelling | Crossing cultures conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008 ed. by Jaynie Anderson International Congress in the History of Art 1. publ. Carlton, Vic., Australia Miegunyah Press 2009 XVIII, 1108 S. Ill., Kt. txt rdacontent n rdamedia nc rdacarrier Kulturkontakt Motiv (DE-588)4315384-7 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Migration Motiv (DE-588)4393588-6 gnd rswk-swf (DE-588)1071861417 Konferenzschrift 2008 Melbourne gnd-content Kunst (DE-588)4114333-4 s Migration Motiv (DE-588)4393588-6 s Kulturkontakt Motiv (DE-588)4315384-7 s DE-604 Anderson, Jaynie (DE-588)105368536X edt International Committee on the History of Art Sonstige (DE-588)2014707-7 oth University of Melbourne Sonstige (DE-588)1025478-X oth International Congress in the History of Art 32 2008 Melbourne Sonstige (DE-588)16014854-6 oth Digitalisierung UB Bayreuth application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016993445&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Crossing cultures conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008 Kulturkontakt Motiv (DE-588)4315384-7 gnd Kunst (DE-588)4114333-4 gnd Migration Motiv (DE-588)4393588-6 gnd |
| subject_GND | (DE-588)4315384-7 (DE-588)4114333-4 (DE-588)4393588-6 (DE-588)1071861417 |
| title | Crossing cultures conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008 |
| title_alt | International Congress in the History of Art |
| title_auth | Crossing cultures conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008 |
| title_exact_search | Crossing cultures conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008 |
| title_exact_search_txtP | Crossing cultures conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008 |
| title_full | Crossing cultures conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008 ed. by Jaynie Anderson |
| title_fullStr | Crossing cultures conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008 ed. by Jaynie Anderson |
| title_full_unstemmed | Crossing cultures conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008 ed. by Jaynie Anderson |
| title_short | Crossing cultures |
| title_sort | crossing cultures conflict migration and convergence the proceedings of the 32nd international congress in the history of art comite international d histoire de l art ciha the university of melbourne 13 18 january 2008 |
| title_sub | conflict, migration and convergence ; the proceedings of the 32nd International Congress in the History of Art ; (Comité International d'Histoire de l'Art, CIHA) The University of Melbourne, 13 - 18 January 2008 |
| topic | Kulturkontakt Motiv (DE-588)4315384-7 gnd Kunst (DE-588)4114333-4 gnd Migration Motiv (DE-588)4393588-6 gnd |
| topic_facet | Kulturkontakt Motiv Kunst Migration Motiv Konferenzschrift 2008 Melbourne |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016993445&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT andersonjaynie crossingculturesconflictmigrationandconvergencetheproceedingsofthe32ndinternationalcongressinthehistoryofartcomiteinternationaldhistoiredelartcihatheuniversityofmelbourne1318january2008 AT internationalcommitteeonthehistoryofart crossingculturesconflictmigrationandconvergencetheproceedingsofthe32ndinternationalcongressinthehistoryofartcomiteinternationaldhistoiredelartcihatheuniversityofmelbourne1318january2008 AT universityofmelbourne crossingculturesconflictmigrationandconvergencetheproceedingsofthe32ndinternationalcongressinthehistoryofartcomiteinternationaldhistoiredelartcihatheuniversityofmelbourne1318january2008 AT internationalcongressinthehistoryofartmelbourne crossingculturesconflictmigrationandconvergencetheproceedingsofthe32ndinternationalcongressinthehistoryofartcomiteinternationaldhistoiredelartcihatheuniversityofmelbourne1318january2008 AT andersonjaynie internationalcongressinthehistoryofart AT internationalcommitteeonthehistoryofart internationalcongressinthehistoryofart AT universityofmelbourne internationalcongressinthehistoryofart AT internationalcongressinthehistoryofartmelbourne internationalcongressinthehistoryofart |