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Art and Nationalism in Colonial India, 1850-1922
Partha Mitter's book is a pioneering study of the history of modern art on the Indian subcontinent from 1850 to 1922. The author tells the story of Indian art during the Raj, set against the interplay of colonialism and nationalism. The work addresses the tensions and contradictions that attended the advent of European naturalism in India, as part of the imperial design for the westernisation of the elite, and traces the artistic evolution from unquestioning westernisation to the construction of Hindu national identity. Through a wide range of literary and pictorial sources, Art and Nationalism in Colonial India balances the study of colonial cultural institutions and networks with the ideologies of the nationalist and intellectual movements which followed. The result is a book of immense significance, both in the context of South Asian history and in the wider context of art history.
African Art and the Colonial Encounter
Focusing on the theme of warriorhood, Sidney Littlefield Kasfir weaves a complex history of how colonial influence forever changed artistic practice, objects, and their meaning. Looking at two widely diverse cultures, the Idoma in Nigeria and the Samburu in Kenya, Kasfir makes a bold statement about the links between colonialism, the Europeans' image of Africans, Africans' changing self representation, and the impact of global trade on cultural artifacts and the making of art. This intriguing history of the interaction between peoples, aesthetics, morals, artistic objects and practices, and the global trade in African art challenges current ideas about artistic production and representation.
Art of Colonial Latin America
A lively survey of a critical period of Latin American art.
Unpacking Culture
"An outstanding set of studies that work well with each other to produce truly substantial and rich insights into the making and consuming of art in the colonial and post-colonial world."—Susan S. Bean, Curator, Peabody Essex Museum
The Whole Picture
"Probing, jargon-free and written with the pace of a detective story... [Procter] dissects western museum culture with such forensic fury that it might be difficult for the reader ever to view those institutions in the same way again. " Financial Times 'A smart, accessible and brilliantly structured work that encourages readers to go beyond the grand architecture of cultural institutions and see the problematic colonial histories behind them.' - Sumaya Kassim Should museums be made to give back their marbles? Is it even possible to 'decolonize' our galleries? Must Rhodes fall? How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we ...
Artist and Empire
Organised by National Gallery Singapore in association with Tate Britain, Artist and Empire: (En)countering Colonial Legacies critically examines the effects of the British Empire through the prism of art. This catalogue accompanying the exhibition underscores the thought-provoking ways in which artist and Empire affect each other--artists negotiating historical conditions of colonialism in their work, and visual representation altering perceptions of the Empire. Essays by exhibition curators and external scholars situate the concept of Empire within broader socio-political discourse, while selected key artworks from the exhibition are paired with curatorial text that illumines concerns underpinning the works. A comprehensive, pull-out timeline spanning the 16th to 20th centuries charts the scope of activities undertaken in the name of the Empire, and contextualises the pursuits of artists from former colonies.
Picturing Imperial Power
An interdisciplinary study of visual representations of British colonial power in the eighteenth century.
"Transculturation in British Art, 1770-1930 "
Examining colonial art through the lens of transculturation, the essays in this collection assess painting, sculpture, photography, illustration and architecture from 1770 to 1930 to map these art works' complex and unresolved meanings illuminated by the concept of transculturation. Authors explore works in which transculturation itself was being defined, formed, negotiated, and represented in the British Empire and in countries subject to British influence (the Congo Free State, Japan, Turkey) through cross-cultural encounters of two kinds: works created in the colonies subject over time to colonial and to postcolonial spectators' receptions, and copies or multiples of works that traveled across space located in several colonies or between a colony and the metropole, thus subject to multiple cultural interpretations.
Art in the Time of Colony
It is often assumed that the verbal and visual languages of Indigenous people had little influence upon the classification of scientific, legal, and artistic objects in the metropolises and museums of nineteenth-century colonial powers. However colonized locals did more than merely collect material for interested colonizers. In developing the concept of anachronism for the analysis of colonial material this book writes the complex biographies for five key objects that exemplify, embody, and refract the tensions of nineteenth-century history. Through an analysis of particular language notations and drawings hidden in colonial documents and a reexamination of cross-cultural communication, the ...
Colonial Legacies
In Colonial Legacies, Gabriella Nugent examines a generation of contemporary artists born or based in the Congo whose lens-based art attends to the afterlives and mutations of Belgian colonialism in postcolonial Congo. Focusing on three artists and one artist collective, Nugent analyses artworks produced by Sammy Baloji, Michèle Magema, Georges Senga and Kongo Astronauts, each of whom offers a different perspective onto this history gleaned from their own experiences. In their photography and video art, these artists rework existent images and redress archival absences, making visible people and events occluded from dominant narratives. Their artworks are shown to offer a re-reading of the colonial and immediate post-independence past, blurring the lines of historical and speculative knowledge, documentary and fiction. Nugent demonstrates how their practices create a new type of visual record for the future, one that attests to the ramifications of colonialism across time.
