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Journal articles on the topic 'Colonial art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Caton, Steven C. "Possessions: Indigenous Art/Colonial Culture:Possessions: Indigenous Art/Colonial Culture." American Anthropologist 103, no. 4 (December 2001): 1211–13. http://dx.doi.org/10.1525/aa.2001.103.4.1211.

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Garcia, Alfredo. "Colonial art as ethnic unifier." Culture and Religion 18, no. 4 (September 14, 2017): 409–27. http://dx.doi.org/10.1080/14755610.2017.1376691.

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A.S.T. "Arequipa Colonial Art and Architecture." Americas 46, no. 1 (July 1989): 96–97. http://dx.doi.org/10.1017/s0003161500076264.

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E. Ojeda, Almerindo. "OJEDA, Almerindo. Project for the Engraved Sources of Spanish Colonial Art (PESSCA), 2005-2021." Revista de Humanidades Digitales 6 (November 26, 2021): 277–82. http://dx.doi.org/10.5944/rhd.vol.6.2021.27828.

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El Proyecto para el Estudio de las fuentes grabadas del arte colonial (PESSCA por sus siglas en inglés) busca identificar los grabados que sirvieron de modelos al arte producido en las colonias hispano-portuguesas de los siglos XVI y XIX. PESSCA es parte las Humanidades Digitales, pues es un proyecto humanístico que emplea herramientas digitales. Y lo hace en todas las fases de la investigación (búsqueda, adquisición, almacenamiento, procesamiento, y recabación de imágenes, así como la difusión, actualización, y preservación de sus hallazgos). A futuro, PESSCA busca desarrollar un sistema de reconocimiento automático de imágenes que asista en el descubrimiento de los grabados que inspiraron obras de arte coloniales, quizás empleando sistemas de reconocimiento facial o anotación automática de imágenes.

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PALMER, RODNEY. "THE ART OF COLONIAL LATIN AMERICA." Art Book 13, no. 2 (May 2006): 63–64. http://dx.doi.org/10.1111/j.1467-8357.2006.00681_2.x.

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Danbolt, Mathias, Nina Cramer, Emil Elg, Anna Vestergaard Jørgensen, and Bart Pushaw. "I kontaktzonen mellem kunsthistorie og kolonihistorie." Periskop – Forum for kunsthistorisk debat, no. 27 (June 15, 2022): 36–57. http://dx.doi.org/10.7146/periskop.v2022i27.133728.

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ABSTRACT In a recent issue of Art History, editors Cathrine Grant and Dorothy Price ask what it would mean to think about art history and colonial history (and in particular decolonization) together. In this article, we continue this conversation in a Danish context, asking: What emerges if we approach Danish art history in light of colonial history and its material and conceptual logics? Our aim is to contribute to critical discussions of art history as discipline by attending to the “contact zones” (Pratt 1992) between art history and colonial history in a Danish and Nordic perspective. With a starting point in an analysis of “colonial ignorance” and methodological nationalism in Danish art history – and in the art museum in particular – the article analyzes two artworks in order to suggest how decolonial perspectives invite a renegotiation of what objects and questions are of relevance and value to art history today.

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Cohen-Aponte, Ananda. "Forging a popular art history:Indigenismoand the art of colonial Peru." Res: Anthropology and aesthetics 67-68 (November 2017): 273–89. http://dx.doi.org/10.1086/693932.

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Bae-Dimitriadis, Michelle. "Land-Based Art Criticism: (Un)learning Land Through Art." Visual Arts Research 47, no. 2 (December 1, 2021): 102–14. http://dx.doi.org/10.5406/visuartsrese.47.2.0102.

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Abstract This article provides an overview of how land-based settler colonial critique can reorient art criticism and art education to expand the scope of art and art practice to critical considerations of land politics and social justice, particularly in terms of the repatriation of Indigenous lands. In particular, land-based perspectives can help to rethink place/land by offering decolonizing methods for critiquing Western works of art that address place. Art educators’ ability to understand and critique settler colonialism in art has been hindered by Eurocentric art criticism. This article seeks to reveal settler colonial imperatives and ambitions regarding land through a critical analysis of American landscape paintings and land art. This piece further examines contemporary Indigenous artists’ site-specific works through adopting decolonial, land-based inquiry. Land-based art criticism interrupts the dominant mode of art inquiry to more comprehensively analyze art associated with place/land and expand the scope of social, cultural, and political understandings of social equity.

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Woets, Rhoda. "THE RECREATION OF MODERN AND AFRICAN ART AT ACHIMOTA SCHOOL IN THE GOLD COAST (1927–52)." Journal of African History 55, no. 3 (September 22, 2014): 445–65. http://dx.doi.org/10.1017/s0021853714000590.

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AbstractThe formative influence of colonial art education on modern art movements in Africa has not attracted a great deal of scholarly attention. Yet, European art teachers in the Gold Coast challenged colonial prejudice that Africans were incapable of mastering European aesthetic forms. This article analyses the art education provided at the Teacher Training College at Achimota School where pupils learned both to revalue African art forms and to draw and paint in European, representational art styles. Modern artists built on and reshaped what they had learned at Achimota in order to respond to changing social and political conditions. The last section of this article explores the impact of colonial art education on the work of two of the earliest modern artists in Ghana: Kofi Antubam and Vincent Kofi.

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Robin, Alena. "Colonial Art from Spanish America in Québec." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 80–92. http://dx.doi.org/10.1525/lavc.2022.4.1.80.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.

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Ayodele, Otonye Bille. "Understanding The ISMS of Nigerian Post-Colonial Art Movements: An Ideological Path for Emerging Contemporary Art." International Journal of Research and Scientific Innovation X, no. IV (2023): 47–57. http://dx.doi.org/10.51244/ijrsi.2023.10407.

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Scholars of African art have advocated various methodologies for the study of African contemporary arts. These methodologies serve their purposes, however there is no particular most embracing and consensus approach so far. Since the millennium, the outcomes of African contemporary art actually defy any static approach. This paper proposes the ideologies and aesthetics of some post-colonial art movements in Nigeria and their impact on Nigerian contemporary art, as a methodological path to understanding the emerging contemporary arts of Nigeria. The art movements considered in this paper are Zarianism, Osogbo Art, Ulism, Onaism and Araism which are the most outstanding of Nigerian post-colonial art movements since independence in 1960. These art movements, through their ideologies, have largely shaped what is today considered as Nigerian Contemporary Art. This paper is a contribution to the ongoing dialogues on the identity of post-colonial Africa and the processes of de-colonization of African culture. Contemporary Nigerian art in this paper is the art from the 1990s till date. The paper is based on qualitative research and bibliographic surveys. The findings show that many contemporary Nigerian arts and artists are affiliated or linked with early post-colonial art movements. In conclusion, a successful inquiry and understanding of the formation and practice of the art movements hopefully will create a pathway in the prediction, identity, and understanding of recent works of art in Nigeria and Africa.

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LEWTHWAITE, STEPHANIE. "Reworking the Spanish Colonial Paradigm: Mestizaje and Spirituality in Contemporary New Mexican Art." Journal of American Studies 47, no. 2 (April 17, 2013): 339–62. http://dx.doi.org/10.1017/s002187581300011x.

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During the early 1900s, Anglo-Americans in search of an indigenous modernism found inspiration in the Hispano and Native American arts of New Mexico. The elevation of Spanish colonial-style art through associations such as the Anglo-led Spanish Colonial Arts Society (SCAS, 1925) placed Hispano aesthetic production within the realm of tradition, as the product of geographic and cultural isolation rather than innovation. The revival of the SCAS in 1952 and Spanish Market in 1965 helped perpetuate the view of Hispanos either as “traditional” artists who replicate an “authentic” Spanish colonial style, or as “outsider” artists who defy categorization. Thus the Spanish colonial paradigm has endorsed a purist vision of Hispano art and identity that obscures the intercultural encounters shaping contemporary Hispano visual culture. This essay investigates a series of contemporary Hispano artists who challenge the Spanish colonial paradigm as it developed under Anglo patronage, principally through the realm of spiritually based artwork. I explore the satirical art of contemporary santero Luis Tapia; the colonial, baroque, indigenous and pop culture iconographies of painter Ray Martín Abeyta; and the “mixed-tech media” of Marion Martínez's circuit-board retablos. These artists blend Spanish colonial art with pre-Columbian mythology and pop culture, tradition with technology, and local with global imaginaries. In doing so, they present more empowering and expansive visions of Hispano art and identity – as declarations of cultural ownership and adaptation and as oppositional mestizo formations tied historically to wider Latino, Latin American and transnational worlds.

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Baer, Kurt. "Spanish Colonial Art in the California Missions." Americas 18, no. 1 (July 1989): 33–54. http://dx.doi.org/10.2307/979751.

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Art work throughout almost the entire history of the Church has been primarily didactic. Man was taught through the arts of sculpture, painting, mosaic, and stained glass, all that he should know of the creation of the world, the dogmas of religion, the virtues, the hero-saints, and during the middle ages especially, the range of the sciences, the arts and crafts. Thus, in the latter half of the eighteenth century when the Franciscans came to the remote outposts in California, they brought with them the pictures and statues by which the simple and ignorant Indian might learn, through his eyes, much of what he was to know of his new faith. “Through the medium of art the highest conceptions of theologian and scholar penetrated to some extent the minds of even the humblest of the people.”

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14

Flores, Patrick D. "Post-colonial perils: art and national impossibilities." World Art 1, no. 1 (March 2011): 75–81. http://dx.doi.org/10.1080/21500894.2011.515834.

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15

Brown, Michael A. "The Art of Painting in Colonial Quito." Colonial Latin American Review 23, no. 1 (January 2, 2014): 110–11. http://dx.doi.org/10.1080/10609164.2013.877257.

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Nag, Koustav. "Post-Colonial Time: The Evaluation of Printmaking Practice and Present Time." Praxis International Journal of Social Science and Literature 6, no. 4 (April 25, 2023): 39–47. http://dx.doi.org/10.51879/pijssl/060404.

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Printmaking has a long and rich history that dates back thousands of years. The earliest forms of printmaking were developed in ancient china, where the artist would create prints using wood blocks as early as the 7th century. However, in the 15th century in Europe, printmaking began to develop into a proper art form. Johannesburg was a German goldsmith printer and inventor widely credited with movable type printing in the mid-15th century. In 1455 Bible was the first important Book in history. In the 16th century, Goa was the first place in India where printing technology started during the British period. Initially, it was used for religious printing and some commercial printing, like religious posters, pamphlets etc. later 20th century, this printing process transformed into fine art printmaking techniques. It became an educational part of developing printing technology and technician. This printing technology became a curriculum for the Art & Craft College, like Madras art college, Kolkata Govt. Art and Craft College, J.J art college, Lahore art college (now in Pakistan), and another essential college is Kala Bhavana under the Visva Bharati University. From post-colonial to contemporary times, printing to printmaking evolved in many ways. Most places academically followed the colonial curriculum, but commercial printing technology rapidly changed. Academically Visva Bharati University Santiniketan develops new technology for the students.

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Lee, Kyunghwa. "Art Collector of Colonial Korea: Pak Yŏngch’ŏl’s Art Collecting and Museum." Korean Journal of Art History 321 (March 31, 2024): 39–68. http://dx.doi.org/10.31065/kjah.321.202403.002.

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Pak Yŏngch’ŏl (1879-1939) was a high-ranking government official, businessman and prominent art collector during the modern period. After Pak’s passing in 1940, his family donated Tasan mun’go (the Tasan Collection) to Keijō Imperial University in accordance with his will. The collection was comprised of 115 artworks, which included calligraphy, paintings, and craft items, along with a fund of 20,000 won. Pak’s financial support laid the foundation for the establishment of the Keijō Imperial University Museum two years later. Both the donation of his collection and the subsequent founding of the museum distinguish Pak Yŏngch’ŏl from contemporary Korean collectors. This study sheds light on Pak Yŏngch’ŏl’s character as an art collector and his perception of the museum based on a detailed investigation of the Tasan Collection housed at the Seoul National University Museum.Pak Yŏngch’ŏl did not actively participate in the appreciation and collection of art until the age of fifty. He began collecting art around 1928, coinciding with his appointment as the vice president of Chosŏn Commercial Bank. Pak then spent the next decade focused on building his collection. This study focuses on Pak Yŏngch’ŏl’s inspection tour of European countries in 1928, which was the catalyst that spurred his considerable devotion to the collection of art. During the tour, Pak Yŏngch’ŏl had the opportunity to experience various museums symbolizing modern civilization in Europe. The Louvre Museum in particular, which was first opened to the public and renown for its outstanding collection, seemed to have informed Pak of the value of art. The cultural treasures exhibited in the public spaces of museums would have reminded Pak that the preservation of historical artifacts is one of the indicators of civilization.In the pre-modern period, the appreciation and collection of calligraphy and painting were typically private activities limited to the individual’s personal domain. However, the political and social changes brought about in the modern period redefined art collecting within a public context. Pak Yŏngch’ŏl, who formed a collection and donated it with the purpose of establishing a museum, epitomizes the shift in perceptions of art collection in Colonial Korea.

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Bae-Dimitriadis, Michelle S., and Luke Arthur Meeken. "Land-based art intervention: Disrupting settler colonial curriculum of public parks." International Journal of Education Through Art 18, no. 2 (June 1, 2022): 259–77. http://dx.doi.org/10.1386/eta_00098_1.

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US public parks are ideological sites where settler-colonial curriculum of territoriality is enacted through their organization and design. However, public parks and the rhetorics of nature and democracy that often frame them are rarely problematized as White settler projects occupying the colonized land. Drawing on the scholarship of decolonial, land-based education, this article critiques the narratives of US urban parks’ undergirding settler-colonial curricula and discusses a student-developed artistic intervention executed in a local public park. The ‘Lederer Park Placards Project’ is explored as both pedagogical gesture and art-based research, which engages in settler-colonial critique through site-specific installation to surface the erasure of Indigenous realities and to divert the existing settler-colonial narratives of public places. This art-in-action is discussed as a decolonial gesture intended to disrupt the White, Eurocentric, colonial curricula embedded in US public parks.

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Balona de Oliveira, Ana. "Epistemic Decolonization through the Colonial, Anti- and Post-Colonial Archive in Contemporary Art." Vista, no. 5 (December 31, 2019): 235–72. http://dx.doi.org/10.21814/vista.3050.

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This visual essay comprises a selection of works made by artists from several generations and geographies, who contribute to an epistemic decolonization in, and of, the present by means of archival research. With works by Kiluanji Kia Henda (Angola, 1979), Filipa César (Portugal, 1975), Olavo Amado (São Tomé and Príncipe, 1979), Ângela Ferreira (Mozambique, 1958), Eurídice Kala aka Zaituna Kala (Mozambique, 1987), Délio Jasse (Angola, 1980), Daniel Barroca (Portugal, 1976), Filipe Branquinho (Mozambique, 1977), and Mónica de Miranda (Portugal/Angola, 1976), I propose a possible reading of the various ways in which contemporary artists have been working critically with colonial archives, not only public, but also private and familial, in view of a decolonizing memorialization of Portuguese colonialism and an understanding of its profound and multifarious impact in contemporary societies – notably regarding structural and institutional racism in Portugal, and enduring patterns of coloniality and neo-colonialism in Angola, Mozambique, Cape Verde, Guinea-Bissau, and São Tomé and Príncipe.

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Hartsell-Gundy, Arianne A. "Book Review: American Colonial Women and Their Art: An Encyclopedia." Reference & User Services Quarterly 58, no. 2 (January 18, 2019): 126. http://dx.doi.org/10.5860/rusq.58.2.6944.

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American Colonial Women and their Art: An Encyclopedia has a unique focus, which makes it an interesting addition for most libraries. Though there are reference works that explore women and art and reference works that cover the American colonial period, there is not a work that focuses specifically on the art of colonial women. In addition to the distinctive topic, this one volume edition not only includes recognizable names such as Abigail Adams and Phillis Wheatley, but also less well-known women, such as Mary Roberts (miniaturist), Sarah Bushnell Perkins Grosvenor (painter), and Elizabeth Foote Huntington (needle worker). This reference work should make for a great tool for any researcher wanting to discover the artistic contributions of specific women.

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Yuliana, Alda, and Faizal Arifin. "Menangkap Realitas Rakyat dan Kritik terhadap Kolonialisme dalam Lukisan: Sejarah Persagi, 1938-1942." Warisan: Journal of History and Cultural Heritage 4, no. 1 (August 16, 2023): 38–47. http://dx.doi.org/10.34007/warisan.v4i1.1836.

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This research examines the history of establishing Indonesia's first modern art organization, namely the Indonesian Painters Association (Persagi). Persagi is an art organization that influenced the identity of Indonesian art at the end of the Dutch colonial era. of Indonesian art at the end of the Dutch colonial era. This study uses the historical method, which stages: heuristics, verification, interpretation, and historiography. This research utilizes primary historical sources such as Bataviasche Kunstkring, Oriëntatie; Cultureel Maandblad, and Provinciale Zeeuwse Courant. These digital archives include articles, newspapers, and magazines from the Dutch colonial period. The study results show that Persagi tries to find authentic Indonesian styles in painting. Persagi provides a platform for artists to express the reality of indigenous people's lives through their art as a critique of colonialism and the ideological values of "Mooi Indie" (Beautiful Indies) centered on the Netherlands. This research shows that criticism of colonialism is not only limited to organizational and political elites through the study of social history. Exploring this artist community reveals the relationship between art and criticism of social reality, which needs further study.

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de Oliveira, Celso Lemos. "Brazilian Literature and Art: From Colonial to Modern." Hispania 75, no. 4 (October 1992): 988. http://dx.doi.org/10.2307/343866.

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Singh, Kavita. "Colonial, International, Global: Connecting and Disconnecting Art Histories." Art in Translation 9, sup1 (October 12, 2015): 34–47. http://dx.doi.org/10.1080/17561310.2015.1058022.

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Lara, Jaime. "Exploring Colonial Oaxaca: The Art and Architecture (review)." Catholic Historical Review 93, no. 4 (2007): 1008–10. http://dx.doi.org/10.1353/cat.2007.0359.

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Kantawala, Ami. "Art Education in Colonial India: Implementation and Imposition." Studies in Art Education 53, no. 3 (April 2012): 208–22. http://dx.doi.org/10.1080/00393541.2012.11518864.

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Ahrens, Prue, and Louis Lagarde. "Convict Art and Craft in Colonial New Caledonia." History Compass 8, no. 11 (November 2010): 1243–56. http://dx.doi.org/10.1111/j.1478-0542.2010.00738.x.

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Bellisari, Andrew. "The Art of Decolonization: The Battle for Algeria’s French Art, 1962–70." Journal of Contemporary History 52, no. 3 (October 17, 2016): 625–45. http://dx.doi.org/10.1177/0022009416652715.

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In May 1962 French museum administrators removed over 300 works of art from the Musée des Beaux-Arts in Algiers and transported them, under military escort, to the Louvre in Paris. The artwork, however, no longer belonged to France. Under the terms of the Evian Accords it had become the official property of the Algerian state-to-be and the incoming nationalist government wanted it back. This article will examine not only the French decision to act in contravention of the Evian Accords and the ensuing negotiations that took place between France and Algeria, but also the cultural complexities of post-colonial restitution. What does it mean for artwork produced by some of France’s most iconic artists – Monet, Delacroix, Courbet – to become the cultural property of a former colony? Moreover, what is at stake when a former colony demands the repatriation of artwork emblematic of the former colonizer, deeming it a valuable part of the nation’s cultural heritage? The negotiations undertaken to repatriate French art to Algeria expose the kinds of awkward cultural refashioning precipitated by the process of decolonization and epitomizes the lingering connections of colonial disentanglement that do not fit neatly into the common narrative of the ‘end of empire'.

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Simanullang, Pernandus. "The Impact of Colonial Thinking Legacy on the Production of Knowledge about the Fine Arts in Southeast Asia." Indonesian Journal of History Education 8, no. 1 (March 22, 2023): 33–44. http://dx.doi.org/10.15294/ijhe.v8i1.59182.

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The experience of art history in Southeast Asia is an unforgettable part of society. Through art before and after thought or art has existed. The arrival of foreigners to Southeast Asia enriched new philosophies for every place that had been influenced by colonial thought. Through the new philosophy, from a perspective, thinking, and doing something, especially in art, has undergone a significant change. This change is a fundamental part but the tradition is still maintained. The impact of change through the influence of colonial thought produces new knowledge in maintaining and preserving the arts, culture, and customs that exist in every country in Southeast Asia. It can be seen that to this day it is the main place for tourists who come to Southeast Asia. Postcolonialism questions and rediscovers modes of cultural perception, and ways of seeing and being seen. In anthropology, postcolonialism studies human relations in colonial countries and subaltern societies exploited by colonial rule. Postcolonialism describes, explains, and illustrates the ideology of neocolonialism by taking the humanities, history, and political science, philosophy and sociology, anthropology, and. So post-colonialism adds or brings a new identity to each country in Southeast Asia but still maintains and preserves traditional arts and culture.

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Cummins, Thomas B. F. "Pre-Columbia: Wherefore Art Thou Art?" Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 94–99. http://dx.doi.org/10.1525/lavc.2019.000007a.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.

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CRAVEN, D. "Abstract Expressionism and Third World Art: A Post-Colonial Approach to 'American' Art." Oxford Art Journal 14, no. 1 (January 1, 1991): 44–66. http://dx.doi.org/10.1093/oxartj/14.1.44.

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Bischoff, Eva. "“Heimischwerden Deutscher Art und Sitte” Power, Gender, and Diaspora in the Colonial Contest." Itinerario 37, no. 1 (April 2013): 43–58. http://dx.doi.org/10.1017/s0165115313000259.

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In 1909, in a public lecture on German colonial politics, author and colonial activist Clara Brockmann emphasised the crucial role of female emigration to the colonies of the Kaiserreich (German empire). With special reference to German Southwest Africa, she argued:The immigration of the German woman in our colony is much talked about and much is done for it. The aim is quite obvious: the prevention of mixed marriages, which are the mental and economic ruin of the settler, the achievement of a profitable farm business, which cannot be fully developed without the assistance of the housewife, and the establishment of German manners and mores, of German family life, which is created foremost by the presence of the woman.Brockmann was one of many women who were committed to “the colonial cause” during the Kaiserreich. Most of these activists were organised in the Frauenbund der Deutschen Kolonialgesellschaft (Women's League of the German Colonial Society). Its central aim was to support and organise the emigration of German women to the colonies of the German Empire. This paper takes a closer look at the rhetoric and politics of the Frauenbund, its claims for the decisive role women were to play in the colonial project, its emigration scheme, organised to provide German settlers with racially “appropriate” wives, and its underlying assumption that Germanness itself was under threat in colonial space. The Kaiserreich's female colonial activists have been the object of numerous studies so far. None of these studies, however, reflects on the issue within the larger context of nineteenth-century global white mass migration or white diasporic movements as described, for instance, by Jürgen Osterhammel.

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Ojeda Di Ninno, Almerindo. "La reconstrucción histórica del arte colonial a través de sus fuentes grabadas: El caso de PESSCA." Norba. Revista de Arte, no. 40 (December 27, 2020): 175–84. http://dx.doi.org/10.17398/2660-714x.40.175.

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El propósito de este ensayo es presentar el Proyecto para el Estudio de las Fuentes Grabadas del Arte Colonial (PESSCA), delinear las contribuciones que hace este proyecto a la catalogación, hermenéutica, ontología, restauración, reconstrucción, y recuperación del arte colonial, e ilustrar, en mayor detalle, las contribuciones que ofrece dicho proyecto a la reconstrucción virtual o histórica de obras coloniales que se encuentran demasiado dañadas para emprender su restauración. Aquí presentaremos la reconstrucción histórica de lienzos de la Catedral y de San Francisco de Quito (Ecuador) y Santa Catalina de Arequipa (Perú), de un cuero del Museum of International Folk Art de Nuevo México (Estados Unidos), y de varias pinturas murales de los estados de Hidalgo y Oaxaca (México).

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Ong, Emelia Ian Li. "Resistance and Representation: The Making of Chinese Identity in the Art of The Yiyanhui and the Equator Art Society in 1950s Singapore." Wacana Seni Journal of Arts Discourse 19 (December 31, 2020): 13–27. http://dx.doi.org/10.21315/ws2020.19.2.

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This paper examines the social realist paintings of the art groups Yiyanhui and the Equator Art Society which emerged during the 1950s in Malaya and Singapore. Their works centred on the social functions of art and its subject matters featured the working class, the Japanese occupation and anti-British colonial sentiment. Their artworks are viewed here as cultural productions shaped by the negotiation between dominant-subordinate relationships within a postcolonial framework. It is argued that the artistic productions examined here may be viewed not only for its overarching “social realist” endeavours but, also as a struggle to rewrite the narrative of the Chinese in Malaya against of the prevailing static representations forwarded by the colonial campaign. The first part of the paper illustrates how colonial discourse in the local press propagated an image of the Chinese as inherently susceptible to communism, untrustworthy, and opportunistic. The second part of the paper shows how the artists resisted this essentialist image of Chinese identity and offered a more complex picture of a Chinese-Malayan identity. Through a combination of interviews, written artist’s statements, formal and contextual considerations of the artworks, as well as a cultural studies framework, I demonstrate how a different narrative is being offered by these artists through two related processes in identity construction: qualifications for authenticity and belonging, the articulation of ambivalence. Resistance thus, is explored as encompassing a network of strategies employed by these artists as a way to reject colonialist representations of otherness and gain authorial agency against the intellectual and ideological dominance of colonial discourse.

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Huard, Adrienne, and Gabrielle Moser. "Editorial Introduction: Reparation and Visual Culture." Journal of Visual Culture 21, no. 1 (April 2022): 3–16. http://dx.doi.org/10.1177/14704129221093638.

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This themed issue of Journal of Visual Culture examines the critical role that art and aesthetics play in processes of reparation. Invoking reparation in its multiple registers – as an act of repair, as the part that has been repaired, as a process of healing an injury, and as an act of justice – the articles and artist projects assembled in this issue move beyond the dominant juridical or financial definitions of reparations (definitions established by the colonial state, or by capitalist legal systems) to think and sense reparation as a singular verb: an active process oriented towards the future that does not lose sight of the ongoing ‘liveness’ of the colonial past.

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Ogbechie, Sylvester Okwunodu. "Momentum Builds for the Restitution of African Art." Current History 118, no. 808 (May 1, 2019): 194–96. http://dx.doi.org/10.1525/curh.2019.118.808.194.

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van Beurden, Jos. "Hard and Soft Law Measures for the Restitution of Colonial Cultural Collections – Country Report: The Netherlands." Santander Art and Culture Law Review 8, no. 2 (December 30, 2022): 323–42. http://dx.doi.org/10.4467/2450050xsnr.22.026.17039.

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This commentary offers an overview of the restitutions and claims processed in the Netherlands until recently, and the legal framework in which they took place. Although the focus is on restitutions to and claims from Indonesia, those to and from a number of other former colonial possessions occur as well. It thus looks at Dutch cultural heritage regulations and laws concerning colonial possessions. Next, the current situation is reviewed, with special attention paid to the Dutch Heritage Act of 2016 and the 2021 Policy Vision on Collections from a Colonial Context, and possible frictions between the two. In the final part, two comparisons are made. One is between how the Netherlands has been dealing with claims for Nazi-looted art works and with claims for items looted from colonial areas. The second comparison is between the current measures for dealing with colonial loot by the Netherlands and Belgium. For several years now, both countries have taken up more seriously the decolonization of state-owned collections from colonial contexts. However, the new policies of both countries have their limitations as well. For the Netherlands, the author concludes that this former major colonial power is in an intermediate phasein the process of developing new rules for dealing with objects and collections from colonial contexts.

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Webster, Susan Verdi. "The Art of Painting in Colonial Bolivia / El arte de la pintura en Bolivia colonial." Renaissance and Reformation 42, no. 2 (October 24, 2019): 255–57. http://dx.doi.org/10.7202/1065159ar.

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Mustafa, Muhizam. "Typology of Malaysia’s Public Art in Post-Colonial Settings." International Journal of the Arts in Society: Annual Review 6, no. 1 (2011): 223–38. http://dx.doi.org/10.18848/1833-1866/cgp/v06i01/35952.

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Blue, Zachary. "Aboriginal art and oral history in the colonial narrative." NEW: Emerging scholars in Australian Indigenous Studies 4, no. 1 (March 15, 2019): 65–69. http://dx.doi.org/10.5130/nesais.v4i1.1533.

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Yoon-Ramirez, Injeong, and Benjamin W. Ramirez. "Unsettling Settler Colonial Feelings Through Contemporary Indigenous Art Practice." Studies in Art Education 62, no. 2 (April 3, 2021): 114–29. http://dx.doi.org/10.1080/00393541.2021.1896416.

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Beidelman, T. O. "Kasfir, Sidney Littlefield: African Art and the Colonial Encounter." Anthropos 103, no. 2 (2008): 599–600. http://dx.doi.org/10.5771/0257-9774-2008-2-599.

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Kee, Joan. "Modern Art in Late Colonial Korea: A Research Experiment." Modernism/modernity 25, no. 2 (2018): 215–43. http://dx.doi.org/10.1353/mod.2018.0017.

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Ortega, Emmanuel. "Spanish Colonial Art History and the Work of Empire." Latin American and Latinx Visual Culture 1, no. 3 (July 2019): 83–86. http://dx.doi.org/10.1525/lavc.2019.130006c.

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Lackey, Louana M. "Cambios: The Spirit of Transformation in Spanish Colonial Art." Latin American Anthropology Review 6, no. 1 (June 28, 2008): 73. http://dx.doi.org/10.1525/jlca.1994.6.1.73.1.

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Rajan, Gita. "Pliant and Compliant: Colonial Indian Art and Postcolonial Cinema." Women: A Cultural Review 13, no. 1 (January 2002): 48–69. http://dx.doi.org/10.1080/09574040210122977.

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Palmer, Daniel. "Icons of colonial injustice: From photographs to public art." Art & the Public Sphere 8, no. 2 (December 1, 2019): 201–15. http://dx.doi.org/10.1386/aps_00021_1.

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In the archive of Australian photography, few images point to the gross injustices experienced by Indigenous Australians more forcefully than a 1906 photograph depicting a group of Aboriginal people in neck chains. More recently, few images point to Indigenous self-empowerment more powerfully than a 1993 press photograph of footballer Nicky Winmar lifting his jumper to point proudly to his dark skin. This article explores the extraordinary legacy of these two images and specifically their translation into prominent contemporary public artworks ‐ respectively, a street mural in inner Melbourne and a statue located outside a major football stadium in Perth. I argue that by drawing on, but also extending, the original content of the images, these public translations of the photographs, and the story of their coming into being, become another chapter in the lives of the images. Moreover, in the shift from print to pavement, they transform public spaces into sites of public pedagogy.

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Peterson, Jeanette Favrot, Gabrielle G. Palmer, and Donna Pierce. "Cambios: The Spirit of Transformation in Spanish Colonial Art." Ethnohistory 42, no. 2 (1995): 351. http://dx.doi.org/10.2307/483104.

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Santner, Kathryn. "Approaching Gender and Race in Colonial Latin American Art." Early Modern Women: An Interdisciplinary Journal 18, no. 2 (March 1, 2024): 323–27. http://dx.doi.org/10.1086/728424.

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Thompson, Patricia T. "POSSESSIONS: INDIGENOUS ART, COLONIAL CULTURE. Nicholas ThomasUNPACKING CULTURE: ART AND COMMODITY IN COLONIAL AND POSTCOLONIAL WORLDS. Ruth B. Phillips , Christopher B. Steiner." Art Documentation: Journal of the Art Libraries Society of North America 18, no. 2 (October 1999): 56–57. http://dx.doi.org/10.1086/adx.18.2.27949041.

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Yosef Calasanza and Gunawan. "Pelestarian Kesenian Debus Banten di Padepokan Maung Pande." SASDAYA: Gadjah Mada Journal of Humanities 7, no. 1 (June 19, 2023): 1–14. http://dx.doi.org/10.22146/sasdaya.v7(1).1-14.

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Debus is one of the popular arts in Banten society. During the Banten kingdom, in the past Debus art became well-known. Initially, Debus became a medium for spreading Islam in Banten. During the colonial period, debus used against colonial troop. Debus perpetrators who are aware of their immunity to sharp weapons and bullets form a force to confront the colonial army. After independence, Debus developed into an art that is often staged in various events at the regional and national levels. However, recently its popularity has waned. Debus art is not much staged and known in the community. This circumstance has prompted Banten hermitages to promote and preserve Debus arts. This article aims to describe the activities of the hermitage in maintaining the existence of debus as well as activities to preserve the Banten debus art by Padepokan Maung Pande. The data collection method was carried out using qualitative research methods by focusing on data collection on member of the Maung Pande hermitage. The results of the study show that the conservation efforts carried out by the Maung Pande hermitage are carried out by collaborating with schools in Banten province.

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