Contents

Preface
Jaynie Anderson, Convenor of the 32nd
International Congress in the History of Art
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
Playing between the Lines: The Melbourne
Experience of Crossing Cultures
Jaynie Anderson, University of
Melbourne
Art in Transit: Give and Take in Dutch Art
Ronald de Leeuw, Director of the
Rijksmuseum, Amsterdam
Found in Translation
Howard Morphy, Australian National
University, Canberra
Home and Away: Works of Art as Citizens
and Migrants
Michael Brand, Director of the John Paul
Getty Museum, Los Angeles
The Travels of a Mi’kmaq Coat: A
Nineteenth-Century World Art History andTwenty-First-Century Cultural Politics
Ruth B Phillips, Carleton University,
Ottawa

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2

Creating Perspectives on
Global Art History

7

Joe Burke’s Legacy: The History of Art
History in Melbourne
Andrew Grimwade, Chairman of the Felton
Bequest and Life Member of the Miegunyah
Fund
The Art of Being Aboriginal
Marcia Langton, University of
Melbourne
On Global Memory: Reflections on Barbaric
Transmission
Homi K Bhabha, Harvard University

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3

Art Histories in an Interconnected World:
Synergies and New Directions

10

Beyond the National, inside the Global:
New Identity Strategies in Asian Art in the
Twenty-First Century
John Clark, University of Sydney
Not Just Images but Art: Pragmatic Issues
in the Movement towards a More Inclusive
Art History
Howard Morphy, Australian National
University, Canberra
The World at Stake: CIHA after Melbourne
Jaynie Anderson, University of
Melbourne
Global Collections for Global Cities
Neil McGregor, Director of the British
Museum, London

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4

The Idea of World Art History

14

Introduction 1
Thomas DaCosta Kaufmann,
Princeton University
Introduction 2
Peter J Schneemann, Institut für
Kunstgeschichte, Bern

15

Methodological and Ideological Perspectives
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19

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,
NorwichTowards Horizontal Art History
Piotr Piotrowski, Adam Mickiewicz
University, Poznań
Global Aspects on Johnny Roosval’s
Concept of the Artedominium
Jan von Bonsdorff, Uppsala University
Putting the World in a Book: How Global
Can Art History Be Today?
Parul D Mukherji, Jawaharlal Nehru
University, New Delhi

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Empirical Perspectives
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From Ideology to Universal Principles:
Art History and the Visual Culture of theBalkans in the Ottoman Empire
Nenad Makuljević, University ofBelgrade
From Nation via Immigration to World Art:
Concepts and Methods of Brazilian
Art Theory
Jens Baumgarten, Universidade
Federal de São Paulo
Universalism and Utopia: Joseph Beuys andAlighiero Boetti as Case Studies for a WorldArt History
Nicola Müllerschön, Institut für
Kunstgeschichte, Bern
Genius Loci: The Revenge of the Good
Savage?
Carmen Popescu, André Chastel ResearchCentre, Paris, and New Europe College,
Bucharest
A Survey of the Current State of Art History
in China
Shao Dazhen, Central Academy ofFine Arts, Beijing
Recent Study in Ancient Chinese Art
History in China
Yan Zheng, Central Academy ofFine Arts, Beijing
Objects without Borders: Cultural Economy
and the World of Artefacts
Jennifer Purtle, University of Toronto

5

Fluid Borders: Mediterranean Art Histories

27

Fluid Borders, Hybrid Objects: Mediterranean Art Histories 500–1500, Questionsof Method and Terminology
Gerhard Wolf, Kunsthistorisches
Institut, Florence
Building Identities: Fluid Borders andan ‘International Style’ of Monumental
Architecture in the Bronze AgeLouise A Hitchcock, University of
Melbourne
Byzantine Art in Italy: Sixth-Century
Ravenna as a Matrix of Confluence?
Felicity Harley McGowan,
University of Melbourne‘Image-Paradigms’ as a Category of
Mediterranean Visual Culture: A Hierotopic
Approach to Art History
Alexei Lidov, Research Centre for
Eastern Christian Culture, Moscow

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The ‘Golden Age’ in Al-Andalus as
Remembered, or How Nostalgia
Forged History
Avinoam Shalem, University of Munich
and Kunsthistorisches Institut, Florence
Fluid Picture-Making across Borders,
Genres, Media: Botanical Illustrationfrom Byzantium to Baghdad, Ninth toThirteenth Centuries
Alain Touwaide, National Museum of
Natural History, Smithsonian Institution,
Washington, DC
Greek Painters Working for Latin and NonOrthodox Patrons in the Late Medieval
Mediterranean: Some Preliminary Remarks
Michele Bacci, University of Siena
Sailing through Time and Space: How
Cyriacus of Ancona Rediscovered theClassical Past
Marina Belozerskaya, independentscholar, Los Angeles
Multi-Ethnic Rome and the Global
Renaissance: Ethiopia, Armenia andCultural Exchange with Rome during
the Fifteenth Century
Christiane Esche-Ramshorn,
University of Cambridge

6

Hybrid Renaissances in Europe and Beyond

36

Introduction
Luke Morgan, Monash University,
Melbourne, and Philippe Sénéchal,
University of Picardy, Amiens
Hybrid Renaissance in Burgundy
Frédéric Elsig, University of Geneva
Heterotopia in the Renaissance: Modern
Hybrids as Antiques in Bramante andCima da Conegliano
Lorenzo Pericolo, Universitéde Montréal‘Gran Cosa è Roma’: The Noble Patronage
of Architecture in Early Sixteenth-Century
Portugal
Luísa França Luzio, Institute of Art History,UNL-FCSH, Lisbon
A Bastard Renaissance? Benedikt Ried,
Master IP and the Question of Renaissancein Central Europe
Pavel Kalina, Czech Technical University,
PragueDifference, Repetition and Utopia: Early
Modern Print’s New Worlds
Christopher P Heuer, Princeton
University

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Contents

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The Carnivalesque RenaissanceJohn Gregory, Monash University,
Melbourne‘Opinione Contraria’: The Anatomy of
Pathos in an Early Drawing by Rosso
Fiorentino
Vivien Gaston, University of
Melbourne
The Hermaphrodite in the Garden
Luke Morgan, Monash University,
Melbourne
Reframing the Renaissance Problem Today:
Developing a Pluralistic Historical Vision
Claire Farago, University of Colorado,
BoulderDo We Still Need a Renaissance?
Keith Moxey, Barnard College,
Columbia University, New York

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
Cultures and Curiosity
Larry Silver, University of Pennsylvania,
Philadelphia
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
Public Identity and Material Culture in
Dutch Batavia
Dawn Odell, Lewis and Clark College,
Portland‘Exposure to Your Ways’: China,
the Dutch and Early Modern Vision
Julie Hochstrasser, University of Iowa
The Global Rembrandt
Catherine B Scallen, Case Western
Reserve University, Cleveland
Images of Bathing Women in Early
Modern Europe and Turkey
Patricia Simons, University ofMichiganGlobal Encounters: Conventions andInvention in Hans Burgkmair’s Images of
Natives of Africa, India and the New World
Ashley West, University of Pennsylvania,
Philadelphia
Patterns of Domestication: Exotic Animals,
Plants and People in Australian and

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European Decorative Arts
Dagmar Eichberger, University of
Heidelberg
Dressing Up like the Cannibals? Adriaen
Hanneman’s Portrait of Princess Mary
Stuart in a Tupi Feather Cape
Rebecca Parker Brienen, Universityof Miami
Tupi Featherwork and the Dynamics of Intercultural Exchange in Early Modern Brazil
Amy J Buono, Southern Methodist
University, Dallas
The Visual Subplot: Local Art, Global
Trade and the Socio-Ethics of Exchange,
Amsterdam 1580–1680
Elisabeth de Bièvre, independentscholar, UK
Visual Elaborations: Fausto Zonaro’s‘Ottoman’ Self-Portraits
Mary Roberts, University of Sydney
The Brush and the Burin: Mogul
Encounters with European Engravings
Yael Rice, University of Pennsylvania,
Philadelphia
Imperial Exchanges of Goods and National
Identities: Victorian and Swadeshi Views of
Crafts under the Raj
Julie Codell, Arizona State University,
Tempe‘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
George French Angas: Colonial Artist
at Large
Philip Jones, South Australian Museum,
Adelaide
The Wanderer, the Slave and the Aboriginal:
Augustus Earle in Rio de Janeiro andSydney in the 1820s
Sarah Thomas, University of Sydney
Exchange, Gifting, Identity and Writing
History in Fin-de-Siècle Tahiti
Elizabeth C Childs, Washington
University, St Louis

8

Representations of Nature across Cultures
before the Twentieth Century

66

Introduction
Frederick Asher, University of Minnesota,
and Hidemichi Tanaka, International
University, Akita

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Capturing Nature’s Inner Truth:
The ‘True-View’ Concept in China,
Korea and Japan
Khanh Trinh, Art Gallery of New South
Wales, Sydney
Beauty and Truth in Nature: Japanand the West
Gary Hickey, University of Melbourne andUniversity of Queensland, Brisbane
Landscape as Placeness in the Art of India
Frederick Asher, University of
Minnesota
Exoticism at Home: The Artist as Explorer
in Nineteenth-Century Sweden
Bengt Lärkner, Linköping University

9

The Sacred across Cultures

71

Introduction
Robert Gaston, La Trobe University,
Melbourne
Plato’s Dilemma: Art, Religion
and Amnesia
Donald Preziosi, University of Oxford
and University of California,
Los Angeles‘Strangers in a Strange New Land’:
How the Immigrant, the Coloniser andthe Conqueror Used Sacred Architecture
to Establish Identity
Ann Thomas Wilkins, Duquesne University,
Pittsburgh, and David G Wilkins, Universityof Pittsburgh
Holy Topographies: Aboriginal Art from theDesert Regions and Its Spiritual Relation toWestern Perceptual Painting
Robert Nelson, Monash University,
Melbourne
Visualising Ancestor Spirits: Name Tablets
or Portraits?
Insoo Cho, Korean National Universityof the Arts, Seoul
Houses of God, Gates of Heaven, Doors ofGrace: Changes in Perception of Lutheran
Church Interiors as ‘Holy Places’
Marcin Wisłocki, University of
Wrocław
Secular Florentines and Sacred Images
Dale Kent, University of California,
Riverside‘God Is Love’: Representations ofChristianity in Indigenous Art from
Ngukurr, South-East Arnhem Land

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Cath Bowdler, Australian National
University, Canberra
Sacred Country: Ancient Footprints,
New Pathways
Donna Leslie, Monash University,
Melbourne
A New Conceptualisation of Australian
Religious Iconography: The Case ofDavid WrightPeter French, University of Melbourne
From Silence to Multiple Incorporation:
Art and Afro-Brazilian Religions
Roberto Conduru, State Universityof Rio de Janeiro
Trees Growing in the Wilderness andStatues of Miracle-Working Madonnas
Zirka Z Filipczak, Williams College,
Williamstown, MA
A Case of Spiritual Colonisation? The
Production and Reception History of aContentious Altarpiece in Jukkasjärvi
Church in Lapland, Sweden
Britt-Inger Johansson, Uppsala University
and the National Museum of Sweden,
Stockholm
Chartres, Chichester and Ajanta:
The Neo-Medievalism of Eric Gill
Irena Kossowska, Polish Academy of
Sciences, Warsaw, and Copernicus
University, Torun
A Pantheon Rediscovered?
Naman P Ahuja, Jawaharlal Neru
University, New Delhi
Sanctity at the Interstices of Fine Art
and Popular Culture: The Case of Ester
Helenius
Tutta Palin, University of Helsinki
Intersections of Time and Place inBooks of Hours
Bronwyn Stocks, Monash University,
Melbourne
A Form of Succession
Junko Ninagawa, Kansai University,
Suita-Shi
A New Plague Saint for Renaissance Italy:
Suffering and Sanctity in Narrative Cycles
of Saint RochLouise Marshall, University of Sydney
Sites of Convergence and Divergence:
Private Devotional Sites in SeventeenthCentury Rome
Glenys L Adams, University of
Melbourne

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Contents

10 Materiality across Cultures
91

Introduction
David Bomford, John Paul Getty Museum,
Los Angeles, and Alison Inglis,
University of Melbourne
92 Lapis Lazuli: Moving Stones at theHeart of Power
Spike Bucklow, Hamilton Kerr Institute,
University of Cambridge
93 Materials, Origins and the Nature of
Early Italian Painting
Anne Dunlop, Yale University,
New Haven
94 Routes and Meaning: The Use of Red
Marble in Medieval Central Europe
Pál Lővei, National Office for the Protectionof Cultural Heritage, Budapest
95 Alabastrum Effoditur Pulcherrimum andCandissimum: The Influence of Imported
Southern Netherlandish Sculpture on the
Reception of Alabaster in Central Europe
in the Sixteenth Century
Aleksandra Lipińska, University
of Wrocław
96 Mosaic Dreaming: Materiality,
Migration and Memory
Joan Barclay Lloyd, La Trobe University,
Melbourne, and Alison Inglis, Universityof Melbourne
97 Outsiders’ and Arnhem Landers’Material Exchanges
Louise Hamby, Australian National
University, Canberra
98 Painting Practice in the Philippines:
Two Institutionalised Practices andTheir Materials and Techniques
Nicole Tse, Ana Maria Theresa Labrador
and Robyn Sloggett, University of
Melbourne
99 A Convergence of Cultures:
Max Meldrum’s Art Theory and PracticeAlexandra Ellem, University of
Melbourne
100 The Gamelan: Melding Conservation
Issues with Javanese Spiritual Beliefs
Holly Jones-Amin, University of
Melbourne

102 Multiple Memories: Lives of the Taj Mahal
Catherine B Asher, University of
Minnesota
103 The Alhambra in Granada and theMemory of Its Islamic Past
Francine Giese-Vögeli, Universityof Bern
104 Curzon, Kedelston and Government
House, Calcutta
Sten Åke Nilsson, Lund University
105 Remembering the Middle Ages:
Responses to the Gothic Revival in
Colonial New Zealand
Ian Lochhead, University of Canterbury,
Christchurch
106 Travelling within Memory: Vicarious
Travel and Imagined Voyages
Nicole Sully, University of Queensland,
Brisbane
107 Moving Finnish Houses: The Knowledgeof Objects in Former Finnish Karelia
Renja Suominen-Kokkonen,
University of Helsinki
108 Nation, Style, Memory: The Cracow
Experience
Jacek Purchla, International
Cultural Centre, Cracow
109 Komar and Melamid: The Future Memoryof International Modernism
Joe A Thomas, Kennesaw State
University
110 Traces of Utopia: On the Architectural Renderings Published in Kunstwissenschaftliche Forschungen, c. 1933
Justine Price, Canisius College, Buffalo
111 Marks and Rembrancers: Alison andPeter Smithson’s Architectural Memory
Ryan Johnston, University of
Melbourne
112 A Strange Case of Cultural Borrowing:
The Australian Pavilion at Expo ’70, Osaka
Carolyn Barnes and Simon Jackson,
Swinburne University of Technology,
Melbourne
113 Analogous Landscapes
Hannah Lewi, University of
Melbourne

11 Memory and Architecture

12 Art and Migration

101 Introduction
Deborah Howard, University ofCambridge, and Philip Goad, Universityof Melbourne

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

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115 Migration of Elements of Islamic Art into
Italy from Spain and the Balearic Islands inthe Fourteenth Century
Gottfried Kerscher, University of Trier
116 Mahmud al-Kurdi and His Italian Customer
Stefano Carboni, Metropolitan Museumof Art, New York117 The Gypsies and Their Impact on FifteenthCentury Western European Iconography
Erwin Pokorny, University of Vienna
118 The École de Paris, Inside and Out:
Reconsidering the Experience of theForeign Artist in Interwar France
Kate Kangaslahti, Nanyang Technological
University, Singapore
119 Polish Artists in France 1918–39: The
Discussion Concerning National Art
Anna Wierzbicka, Polish Insitute of Art,
Academy of Sciences, Warsaw
120 Koji Kamoji: A Bridge between Haiku
and Christian Mysticism
Lukasz Kossowski, Museum of Literature,
Warsaw
121 The Role of International Exhibitionsin the Diffusion of a Global Memory
Martine Bouchier, Paris-Val de Seine,
National Advanced School of Architecture,
Louest122 Displaced Objects, Objects in Exile?
Changing Virtues of Cameroon Objects
in the West
Alexandra Loumpet-Galitzine,
University of Yaounde I, Cameroon
123 Landscapes of Imagination: Migration
and Place in Contemporary Iranian Art
Alisa Eimen, Minnesota State University,
Mankato124 Moving Pictures: Art, Irelandand Migration
Yvonne Scott, Trinity College, Dublin
125 Multiplicity of Artistic Migration in the
Representation of Return: The Odyssey,
Hebdomeros and Postmodernity in the
Art of Giorgio de Chirico
Mayumi Abe, National Art Center,Tokyo

13 Art and War
126 Introduction
Nigel Lendon, Australian National
University, Canberra, and ThierryDufrêne, Institut National d’Histoirede l’Art, Paris0531 CIHA_00_CONTENTS.indd xii

127 Bartholomäus Strobel the Younger and theThirty Years War
Jan Harasimowicz, University of
Wrocław
128 Landscape and the Memory of War
Catherine Speck, University of
Adelaide
129 Vasily Vereshchagin’s Campaign:
Colonial War and Representations of
Russia’s Others
Natasha Medvedev, University of California,
Los Angeles
130 Feature Films and the Shock of the
Real: Regarding Wartime Documents
in Art-House Cinema and Beyond
Wolfgang Brückle, Universityof Essex
131 Surviving War: Uniting the Nation in
Postwar Finnish Mural Paintings
Johanna Ruohonen, University of
Turku
132 Complicities: Abu Ghraib, Contemporary
Art and the Currency of Images
Morgan Thomas, University ofCanterbury, Christchurch
133 Pyrotechnics: From War to Art and BackThierry Dufrêne, Institut Nationald’Histoire de l’Art, Paris
134 Beauty and Horror: Identity and Conflictin the War Carpets of Afghanistan
Nigel Lendon, Australian National
University, Canberra
135 Media/ting Conflict: Iranian Posters of the
Iran–Iraq War
Christiane J Gruber, Indiana University,
Bloomington
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
14 Art and Clashing Urban Cultures
137 IntroductionPeter Krieger, Instituto de Investigaciones
Estéticas, Universidad Nacional Autónoma
de México, Mexico City
138 Manet’s Le Déjeuner sur l’herbe:
Resisting the Parisian ‘Non-Place’ during
Haussmannisation
Bradley Fratello, St Louis Community
College, Meramec
139 Air Travel and Omnipresent Disaster
Melissa Laing, University of Sydney

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Contents

140 Changing Politics, Changing Cityscapes:
Redesigning, Redefining and Contesting
Public Space in Post-Communist Central
EuropeArnold Bartetzky, University ofLeipzig
141 Redfern ResistanceCatherine de Lorenzo, University of
New South Wales, Sydney
142 Urban Bush Bashing? Some Indigenous
Artists’ Responses to the AustralianGovernment’s Emergency Intervention
in the Northern Territory
Susan Lowish, University of
Melbourne
15 Global Modern Art: The World Inside Out
and Upside Down
143 Introduction
Andrea Giunta, University of Texas,
Austin, and Anthony White, Universityof Melbourne
144 Art and Nation: To Rome and Back
Laura Malosetti Costa, University of
Buenos Aires
145 ‘That Arid Feeling for the Burnt Bush’:
Giorgio de Chirico’s Wandering Jew,
Metaphysical Painting and ‘Semitic Atavism’Ara H Merjian, Stanford University
146 Wounded: Lucio Fontana’s Wartime
Sculpture in Italy and Argentina
Anthony White, University of
Melbourne
147 Surrealism in the Antipodes:
On James Gleeson’s Exile
David Lomas, University ofManchester
148 From Constructivism to Pop: Avant-Garde
Practices in Brazil, Britain and North
America between the 1950s and 1960s
Michael Asbury, Camberwell Collegeof Art, London
149 Picasso’s Guernica in Latin America
Andrea Giunta, University of Texas,
Austin150 ‘Much More than Parrots and Banana
Trees’: The Art of Hélio Oiticica in the
1960s
Maria de Fátima Morethy Couto,
University of Campinas (UNICAMP)
151 ‘From Río del Plata to the Seine’ and Back:
Pierre Restany and Damián Bayón
Isabel Plante, University of
Buenos Aires

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152 Our Old Koroua Picasso: Maori Modernist
Art in Aotearoa New Zealand
Damian Skinner, Gisborne
153 Pilgrimage and Periphery: Robert
Smithson’s Spiral Jetty and the Discourseof Tourism
Chris McAuliffe, University of
Melbourne
16 Indigeneity/Aboriginality, Art/Culture andInstitutions
154 Introduction
Jonathan Mane-Wheoki, Museum of New
Zealand Te Papa Tongarewa, Wellington
155 Belonging and Homelands: Negotiating
Identity in Aotearoa/New Zealand
Caroline Vercoe, University of
Auckland
156 Between the Indigenous and the Exotic:
Landscapes of Hokkaido and the Russian
Far East
Hisashi Yakou, Hokkaido University,
Sapparo157 The Reclamation of South-East Australian
Aboriginal Arts Practices
Vicki Couzens, Kaawirn Kuunawarn Hissing
Swan Arts, Port Fairy, and Fran Edmonds,
University of Melbourne
158 Indigenous Material Culture in the
Digital Age
Lyndon Ormond-Parker, Universityof Melbourne
159 ‘My Art Talks about Link’: The Peregrinations of Yolngu Art in a Globalised World
Jessica de Largy Healy, University of
Melbourne and École des Hautes
Études en Sciences Sociales, Paris
160 Performing Landscape and Memory:
Gija Local and Global Art Circulation
Arnaud Morvan, University of Melbourneand École des Hautes Études en Sciences
Sociales, Paris
161 Postcolonial Pasts and Post-Indigenous
Futures? A Critical Genealogy of Museums
and ‘Maori Art’
Conal McCarthy, Victoria University,
Wellington
162 Indigeneity and the Museum Paradigm:
Contexts and Debates Surrounding theOpening Ceremonies and Exhibitions at the
National Museum of the American Indian in
Washington, DC, September 2004
Stephanie Pratt, University of
Plymouth

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163 A Crisis of Identity: Australian Indigenous
Culture, Primitivism and Modernismin ‘Recent Australian Painting’ at theWhitechapel Art Gallery, 1961
Sarah Scott, Charles Darwin University,
Darwin164 Circuit Breaking? Indigenous Australian Art
and Critical Discourse
Julie Gough and Stephen Naylor,James Cook University, Queensland
165 Aboriginalities and Nationalities: Shaping
Art History in the Postcolonial Museum
Anne Whitelaw, University of Alberta,
Edmonton

17 Parallel Conversions: Asian Art Histories in
the Twentieth and Twenty-First Centuries
166 Introduction
Toshiharu Omuka, University ofTsukuba, Tokyo, and John Clark,
University of Sydney
167 The Concept of ‘Art’ in Japan andInternational Expositions of the Meiji
PeriodShimura Shôko, Tokyo Zokei
University
168 Takeuchi Seihō, Chigusa Sōun and John
Ruskin’s Modern Painters: Reconciling
Realism with Japanese Painting, 1900–1910
John D Szostak, University of
Hawaii, Mãnoa
169 Amrita Sher-Gil: Transformation of the
Pre-Modern to the Modern in Early
Twentieth-Century Indian Art
Yashodara Dalmia, independent scholar,
New Delhi
170 Global Consciousness in Yôga SelfPortraiture
Bert Winther-Tamaki, University ofCalifornia, Irvine
171 Realism as a Tool of National Modernisation in the Reformist Discourse of Late
Nineteenth- and Early TwentiethCentury China
Francesca dal Lago, Leiden
University
172 New Categories, New History: ‘The
Preliminary Exhibition of Chinese Art’in Shanghai, 1935
Hui Guo, Leiden University
173 Alternative Fashion Histories: Sartorial
Modernity in East Asia
Toby Slade, University of Sydney

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174 The Impact of Censorship, Conflict and theDiaspora on Vietnamese Art History
Annette van den Bosch, Deakin University,
Melbourne, and Boitran Huynh-Beattie,
Bowater School of Management,
Melbourne
175 Contending with Present Pasts: On
Developing South-East Asian Art Histories
Michelle Antoinette, Research Schoolof Pacific and Asian Studies, Australian
National University, Canberra
176 Picturing Early Twentieth-Century SinoJapanese Art Relations in Ōmura Seigai’s‘Shina Rekiyū Dan’: An Account of Making
Art History in the 1920s
Olivier Krischer, Tsukuba University
177 Why Realism? From Social Realism to
Neo-Realism in Modern Chinese Art
Yiyang Shao, Academy of Fine Arts,
Beijing
178 Interconnectedness of Performance Art
Festivals across and beyond Asia
Silvia Fok Siu Har, University ofHong Kong
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,
Sydney180 The Artist as Image Decoder: Ni Haifeng’s
Agency between Europe and China
Kitty Zijlmans, Leiden University
181 Art Histories at the Crossroads: ‘Asian’Art in Australia
Francis Maravillas, University of Technology,
Sydney182 A Kiss to Matisse: Strategies for Histories ofModernism in Central Asia: Uzbekistan in
the 1920s, Kazakhstan in the 1980s–1990s
Jane A Sharp, Rutgers, State Universityof New Jersey, Newark
183 Constructing Transnational Identities:
Paik Nam June and Lee Ufan
Youngna Kim, Seoul National
University

18 Contemporaneity in Art and Its History
184 Introduction
Terry Smith, University of Pittsburgh,
and Charles Green, University of
Melbourne

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Contents

185 Writing the History of Contemporary Art:
A Distinction, Three Propositions and Six
Lines of Inquiry
Terry Smith, University of Pittsburgh
186 Historicity and Aboriginal Art: How Long
Will It Take for Aboriginal Art to Become
Modern?
Ian Maclean, University of Western
Australia, Perth
187 Contemporaneity in Inuit Art through theTwentieth and Early Twenty-First Centuries
Cécile Pelaudeix, University of Paris X,
Nanterre
188 Topographies of Chance: Tracing the‘Contemporary’ in 1960s France
Jill Carrick, Carleton University,
Ottawa189 Periodising Contemporary Art
Alexander Alberro, Barnard College,
New York
190 Global Visions, Local Contemporaneity:
Video Art in Australia
Daniel Palmer, Monash University,
Melbourne
191 The Atlas Effect: Constraint, Freedom andthe Circulation of Images
Charles Green, University of
Melbourne
192 On the ‘Evental’ Installation: Contemporary
Art and Politics of Presence
Anthony Gardner, University of
Melbourne

19 New Media across Cultures
193 Introduction
Ross Gibson, University ofTechnology, Sydney
194 Old Traces on a New Body
Dirk de Bruyn, Deakin University,
Melbourne
195 Transience: Indigenous, Settler and Migrant
Media
Sean Cubitt, University of Melbourne
196 Imagining the Future: Issues in Writing andResearching Art’s Histories in a Digital Agewith the DAAO
Vivien Johnson and Joanna Mendelssohn,
University of New South Wales, Sydney
197 Painting as New Medium: The Reversed
Canvas in Colonial Art
Richard Read, University of Western
Australia, Perth0531 CIHA_00_CONTENTS.indd xv

198 The Fiction of Art History: Imaginary
Provenances for Media Arts in South Asia
Shuddhabrata Sengupta, Raqs Media
Collective, New Delhi
20 Economies of Desire: Art Collecting and
Dealing across Cultures
199 Introduction
Christopher R Marshall, University of
Melbourne
200 The Impact of Unscrupulous Dealers on
Sustainability in the Australian Aboriginal
Desert Paintings Market: A View from theHigh End
Meaghan Wilson-Anastasios, Universityof Melbourne, and Neil De Marchi,
Duke University, Durham
201 A Fine Romance: White Money, Black Art
Philip Batty, Melbourne Museum
202 The Paradox of Collecting the ‘Other’:
Percy Grainger’s Collecting of Non-Western
Cultures
Belinda Nemec, University of
Melbourne
203 Art Dealing as Medium of Cultural Transfer
Michael North, University ofGreifswald
204 Crossing Thresholds: The Hybrid Identities
of Late Nineteenth-Century Art Dealers
Christian Huemer, City Universityof New York and Getty Research Institute,Los Angeles
205 Small Mirror to Large Empires:
Towards a Theory of Meta-Museums
in Contemporary Art
Khadija Z Carroll, Harvard University
206 Framing Fusion: Varieties of Collecting and
Display at the Museo Poldi Pezzoli, Milan
Christopher R Marshall, University of
Melbourne
207 On Art Collecting in Argentinan or
How the Pre-Columbian Past Became
an Object of Desire
María Isabel Baldassare, Universityof Buenos Aires
21 New Museums across Cultures
208 Introduction
Jonathan Sweet, Deakin University,
Melbourne
209 The Modern Museum in China
Zhang Gan, Tsinghua University,
Beijing

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xvi

Contents

210 The Uncanny Space of Daniel Libeskind’s
Jewish Museum
Julia Walker, University of Pennsylvania,
Philadelphia
211 New Museums: Institutionalisation ofContemporary Art in Central Europe.
Crossing Inspirations
Katarzyna Jagodzińska, International
Cultural Centre, Cracow
212 Problematics of Postcolonial Dislocationin the Case of the National Museum ofContemporary Art in Bucharest
Cristina Albu, University of Pittsburgh
213 Out of Context: Towards Presentation ofJapanese Art in Western Museums
Chiaki Ajioka, University of Sydney
214 Constructing Tribal Architectures and
Identities in Native American Museums andCultural Centres
Anne L Marshall, University of Idaho,
Moscow, ID
215 Creating Cultural Citizenship out ofContemporary Art at the National Museumof the American Indian?
Kylie Message, Australian National
University, Canberra
216 The Cosmopolitan Museum (of Art)
Milan Kreuzzieger, Centre of Global
Studies, Prague

218 Art History and Repatriation: A Caseof Mutual Illumination?
Dario Gamboni, University of Geneva
219 Shrewd Calculations
Kenneth Lapatin, John Paul Getty
Museum, Los Angeles
220 Repatriating Sanctity, or How the Dukesof Bavaria Rescued Saints during theReformation
Jeffrey Chipps Smith, Universityof Texas, Austin
221 Alexander Neumann (Bielitz 1861 –Wellington 1947): Portfolio in Exile
Andrew Leach, University of
Queensland, Brisbane
222 Repatriation Ante Patria: Repatriating
for Tibet
Kavita Singh, Jawaharlal Nehru
University, New Delhi
223 Returning Veronese’s The Wedding at
Cana to Venice: Some Issues Concerning
Originality and Repatriation
Adam Lowe, artist, UK
224 Arbitration and Mediation as Alternative
Resolution Mechanisms in Disputes Relating
to the Restitution of Cultural Property
Marc-André Renold, University ofGeneva Law School
List of Authors

22 Repatriation
217 Introduction
Dario Gamboni, University of Geneva

0531 CIHA_00_CONTENTS.indd xvi

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