Full Description
This companion comprises essays that analyze interactions between art and global imperial relationships from 1800 to World War II.
The essays in this volume expose and add to historical layers of meaning in their discussions of art and empire. Found across much of the globe, sites of sedimentary rock allegorize the dynamics of art and empire and frame the section structure for this book. Twenty‑two authors unpack imperial layers in a variety of global and historical contexts through case studies that center art and visual and material culture. The authors show how art and aesthetics have operated as tools of empire. Interpreting a comprehensive array of media as well as inter‑media dialogues, they analyze and intervene in how we remember and examine entwinements between empire and aesthetic practices. In this volume's attention to the role of art in imperial formation, as well as the legacy of colonization, the essays disentangle sediments of culture as they are moved and shaped by homogenizing forces of empire, showing that the aesthetics of empire inflect not only individuals, makers, and economies, but also practices of circulation and collecting.
The book will be of interest to graduate students, researchers, and professors and may be used in classes focused on art history, imperialism, and colonialism.
Contents
Introduction: Solidifying as Rock: Enmeshed Layers of Empire Part I: Sediment: The Dynamic Elements of Place 1.Colonial Complicities Beyond the Empire. Czechoslovakia Inbetween Worlds and World's Fairs 2. "The Kingdom Grown Out of a Little Boy's Garden": Dole Pineapples and Hawaiian Occupation in U.S. Art and Visual Culture 3. Imperialism for the Million: Mass-market Glasshouses and the Botanical Arts of Empire 4. Meditating on Aivazovsky's Black Sea: Representing Russian Imperial Expansion 5. Beyond European Palettes: The Overlooked Contributions of Indigenized Artists in the Historiography of Painting in Mexico 6. Beyond the Modernist Canon of Involuntary Aesthetic Colonization: Aina Onabolu's Mimicry as Rejection of Colonial Anti-modernity 1900-1937. Rambles in Natchez: John James Audubon and Colonial Aesthetics on the Mississippi Frontier (1820-1850) Part II: What Moves the Sediment: Exchange and Conflict 8. The Empire Looks Back: Derivativeness in Nineteenth-century Brazilian Art 9. "Southern Fragrance" of the Japanese Empire: Visualizing Botany in Colonial Taiwan 10. How to Interpret John B. Flannagan Through Empire 11. Face-Off: A Russian Prince at the Courts of India 12. Orientalism, Arts, and Scottish Identity: David Roberts (1796-1864) and David Wilkie (1785-1841) in the Ottoman Levant 13. Mapping the British Railways in Western Anatolia: From a Speculative to an Imperial Vision 14. Manufacturing Empire: The Visual and Material Culture of Chicago's Marquette Building 15. The Italian Fascist Vision for the "World of Tomorrow" at the New York 1939 World's Fair Part III: What Solidifies the Sediment into Rock: Forces of Homogenization (or Consolidation) 16. Maternal Orientalism: Women's Work and the Photographs of Jessie Tarbox Beals at the Louisiana Purchase Exposition 17. ''Self-colonization' as a Cultural Strategy: Konstantin Korovin's Image of Russian Northern Peripheries 18. Adapting Empire for the Buying Public: The Algerian Conquest and a Printed Adaptation of Gros's Bonaparte Visiting the Plaguehouse at Jaffa 19. Surveying for Empire: Arthur Schott's Boundary Pictures and the Slavery Extension Controversy 20. Whose American South? Winslow Homer and The Cuban Question 21. Hegemony, Hierarchy, and Struggle in Korean Colonial Art: The Activities and Artworks of Shinichi Yamada
