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Journal articles on the topic 'Southest art'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

James, Stuart. "Public Art:9883Eileen Adams. Public Art: People, Projects, Access. London Art Board, Public Art Southwest, Southern Arts, Southeast Arts, 1997. 96 pp, ISBN: 0 907730 36 1 Distributed by A.N. Publications, Sunderland." Reference Reviews 12, no. 2 (February 1998): 27. http://dx.doi.org/10.1108/rr.1998.12.2.27.83.

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2

Faulkner, Charles H. "A Study of Seven Southeastern Glyph Caves." North American Archaeologist 9, no. 3 (January 1989): 223–46. http://dx.doi.org/10.2190/u6dq-q24v-wgrf-v27h.

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The ceremonial use of caves by prehistoric Indians in the Southeast was firmly established by the discovery and study of Mud Glyph Cave in Tennessee which contained hundreds of drawings including several Southern Cult motifs. This study of seven additional petroglyph and mud glyph caves in the Southeast has confirmed Mississippian religious activities in certain caves and suggests that, although at least one of these caves may have been the setting for ceremonial art as early as the Late Archaic period, caves during this earlier period appear to have been primarily explored and used for mineral extraction. While the meaning of the later Mississippian glyphs will continue to elude us until more decorated caverns are found, the discovery of Southern Cult motifs in caves dating as early as A.D. 1000–1300 in remote areas of the Southeast suggests an early dispersal of this art and association with underground ceremonialism.

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3

Levin, Cecelia, Joyce van Fenema, Jim Supangkat, Alice Guillermo, Cid Reyes, Suise Wong, and Apinan Poshyananda. "Southeast Asian Art Today." Pacific Affairs 70, no. 3 (1997): 468. http://dx.doi.org/10.2307/2761067.

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4

Moss, M. L. "Outer Coast Maritime Adaptations in Southern Southeast Alaska: Tlingit or Haida?" Arctic Anthropology 45, no. 1 (January 1, 2008): 41–60. http://dx.doi.org/10.1353/arc.0.0002.

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5

Pantaleo, Antonella, Maria Carmina Pau, Huynh Dinh Chien, and Francesco Turrini. "Artemisinin resistance, some facts and opinions." Journal of Infection in Developing Countries 9, no. 06 (July 4, 2015): 597–99. http://dx.doi.org/10.3855/jidc.7015.

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Resistance to artemisinin derivatives (ARTs) in malaria disease is currently defined as a delayed parasite clearance following artemisinin combined therapy (ACT). Although ACT is still widely effective, the first evidence of artemisinin resistance was described in 2009 in Southeast Asia. Since then, resistance to ARTs / ACT has been monitored showing an increasing trend. The demonstrated resistance to all drugs that are currently associated to ART, the ambiguous finding that ART resistance is observed only in presence of resistance to the partner drug, the lack of a mechanistic rationale to choose the partner drugs and the lack of markers with known specificity and sensitivity to monitor ART resistance, represent the most worrisome issues.

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6

Wyss, Max. "A proposed source model for the great Kau, Hawaii, earthquake of 1868." Bulletin of the Seismological Society of America 78, no. 4 (August 1, 1988): 1450–62. http://dx.doi.org/10.1785/bssa0780041450.

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Abstract On 2 April 1868, an earthquake occurred which destroyed all stone buildings in southern Hawaii. It was felt on Kauai Island at 600 km, and ground shaking of intensity VII was reported up to 130 km distance. Based on the magnitude versus felt-area relationship for Hawaii, it is estimated that the magnitude of the earthquake was about 8. The foreshock sequence lasted 5 days, and the aftershocks lasted for years to perhaps a decade. It appears that this earthquake was one of the very few largest events in historic time in the United States, excluding Alaska, but its return period is unknown. It is proposed that the source of this earthquake was slip of the upper crust towards the southeast along a near-horizontal plane at approximately 9 km depth. The rupture plane may have had dimensions of at least 50 km × 80 km. It is proposed that its eastern edge extended from near Mauna Loa's summit to the south along the volcano's southwest rift. In this model, magma intrusions into Mauna Loa and its southwest rift provide the stresses which act perpendicular to the rift and which push the volcano's southwest flank away from the edifice of the island of Hawaii. The oceanic sediment layer upon which this edifice is deposited acts as a layer of weakness containing the fault plane. This model explains the eruptive pattern of Mauna Loa and its southwest rift, as well as the growing separation between the southwest rift zones of the two volcanoes: Kilauea and Mauna Loa. Geodetic monitoring of southern Hawaii, particularly of the area between the two active volcano's southwest rifts, could test this hypothesis and lead to an estimate of the recurrence time.

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7

Caniglia, Joanne C. "Weaving Mathematical Concepts through Native American Baskets." Mathematics Teaching in the Middle School 23, no. 6 (April 2018): 352. http://dx.doi.org/10.5951/mathteacmiddscho.23.6.0352.

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The stunning natural beauty of Arizona, New Mexico, southern Colorado, and Utah is indicative of the American Southwest and is reflected in Southwestern baskets. Many Southwestern basket weavers use coiling as their method of construction (see fig. 1). The following problems relate mathematics to the art of basket weaving, with an emphasis on coiling.

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8

Kee, Joan. "Introduction Contemporary Southeast Asian Art." Third Text 25, no. 4 (July 2011): 371–81. http://dx.doi.org/10.1080/09528822.2011.587681.

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9

Faulkner, Charles H., and Jan F. Simek. "1st Unnamed Cave: a Mississippian period cave art site in east Tennessee, USA." Antiquity 70, no. 270 (December 1996): 774–84. http://dx.doi.org/10.1017/s0003598x00084052.

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The well-protected walls and floors of deep caves are some of the few places where human markings on soft materials — sands, muds, clays — survive archaeologically. Since 1979, a special group of caves in the eastern United States has been reported with ‘mud-glyphs’ or prehistoric drawings etched in wet mud. Here, the seventh of these mud-glyph caves is described; once again, its iconography connects it to the ‘Southern Cult’ or ‘Southeast Ceremonial Complex’ of the Mississippian period.

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10

Mguni, Siyakha. "King's monuments: identifying ‘formlings’ in southern African San rock paintings." Antiquity 80, no. 309 (September 1, 2006): 583–98. http://dx.doi.org/10.1017/s0003598x00094059.

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The author demonstrates that the complex images of rock art known as formlings depict or evoke the equally complex architecture of ant-hills. Presented in cutaway and full of metaphorical references, they go beyond the image into the imagination.

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11

Feinstein, Harriet. "Southern California Art Therapy Association: Art Therapy Today." Art Therapy 12, no. 2 (April 1995): 139–41. http://dx.doi.org/10.1080/07421656.1995.10759149.

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12

Antoinette, Michelle, and Francis Maravillas. "Positioning contemporary art worlds and art publics in Southeast Asia." World Art 10, no. 2-3 (September 1, 2020): 161–89. http://dx.doi.org/10.1080/21500894.2020.1821761.

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13

O'Connor, Stanley J. "Humane Literacy and Southeast Asian Art." Journal of Southeast Asian Studies 26, no. 1 (March 1995): 147–58. http://dx.doi.org/10.1017/s0022463400010547.

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Humane literacy? An essay on undergraduate education? Isn't it a solecism to broach such concerns in this special issue ofThe Journal of Southeast Asian Studieswhere contributors are invited to take stock of the current state of scholarship in various fields of study? My response is simply if not now, then when? I am writing from North America where Southeast Asian studies has gained only a precarious beach-head in the academy and nowhere is this more evident than in the very limited undergraduate investment in our field. Despite the fact that any expansion of academic appointments for specialists on the region will be spurred by evidence of general student interest, a concern with that issue, on our occasions of collective self scrutiny, has been subordinated to questions of research direction, funding strategies, and the prevailing degree of accord between the various disciplines and area studies. But, however ancillary the general education mission of the undergraduate college may seem to professional scholars eager to get on both with their research and the training of graduate students, it is nevertheless a principal responsibility of those deans who control academic appointments. We differ from our colleagues within Southeast Asia where an interest in the region can be either assumed, or expected eventually to develop. While American universities place globalization high on their agendas today, it is not at all evident that their students will wish to study about Southeast Asia rather than, say, Africa or Latin America. So we do need to focus on how we may demonstrate the centrality of what we do to the process of self-discovery and the integration of learning that is at the heart of general education.

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14

Antoinette, Michelle, and Nora A. Taylor. "Reworlding Art History: Encounters with Contemporary Southeast Asian Art after 1990." Journal of Social Issues in Southeast Asia 31, no. 2 (July 30, 2016): 630–32. http://dx.doi.org/10.1355/sj31-2j.

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15

Veal, Clare. "Michelle Antoinette, Reworlding Art History: Contemporary Southeast Asian Art after 1990." Southeast of Now: Directions in Contemporary and Modern Art in Asia 1, no. 2 (2017): 181–88. http://dx.doi.org/10.1353/sen.2017.0019.

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16

Fowler, Joan. "Art Colleges in Southern Ireland." Circa, no. 24 (1985): 3. http://dx.doi.org/10.2307/25557294.

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17

Solomon, Anne. "Rock Art in Southern Africa." Scientific American 275, no. 5 (November 1996): 106–13. http://dx.doi.org/10.1038/scientificamerican1196-106.

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18

Solomon, Anne. "Rock Art in Southern Africa." Scientific American Sp 15, no. 1 (January 2005): 42–51. http://dx.doi.org/10.1038/scientificamerican0105-42sp.

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19

Barnard, Alan, J. D. Lewis-Williams, and A. R. Willcox. "Discovering Southern African Rock Art." Man 27, no. 1 (March 1992): 186. http://dx.doi.org/10.2307/2803605.

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20

Blackburn, Anne M. "Buddhist Connections in the Indian Ocean: Changes in Monastic Mobility, 1000-1500." Journal of the Economic and Social History of the Orient 58, no. 3 (July 6, 2015): 237–66. http://dx.doi.org/10.1163/15685209-12341374.

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Since the nineteenth century, Buddhists residing in the present-day nations of Myanmar, Thailand, and Sri Lanka have thought of themselves as participants in a shared southern Asian Buddhist world characterized by a long and continuous history of integration across the Bay of Bengal region, dating at least to the third centurybcereign of the Indic King Asoka. Recently, scholars of Buddhism and historians of the region have begun to develop a more historically variegated account of Buddhism in South and Southeast Asia, using epigraphic, art historical, and archaeological evidence, as well as new interpretations of Buddhist chronicle texts.1 This paper examines three historical episodes in the eleventh- to fifteenth-century history of Sri Lankan-Southeast Asian Buddhist connections attested by epigraphic and Buddhist chronicle accounts. These indicate changes in regional Buddhist monastic connectivity during the period 1000-1500, which were due to new patterns of mobility related to changing conditions of trade and to an altered political ecosystem in maritime southern Asia.

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21

Shao, Qing-Feng, Edwige Pons-Branchu, Qiu-Ping Zhu, Wei Wang, Hélène Valladas, and Michel Fontugne. "High precision U/Th dating of the rock paintings at Mt. Huashan, Guangxi, southern China." Quaternary Research 88, no. 1 (June 5, 2017): 1–13. http://dx.doi.org/10.1017/qua.2017.24.

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AbstractThe rock art and the associated natural scenery at 38 sites located in the Zuojiang River valley, in the southwest of Guangxi Zhuang Autonomous Region, southern China, were inscribed recently on UNESCO’s World Heritage List. The painted panel at the site of Mt. Huashan is probably the largest known rock art panel in the world, consisting of approximately 1900 identifiable figures and occupying an area of approximately 8000 m2. To determine a precise age on the rock art at Mt. Huashan, 56 secondary carbonate layers above and below the paintings were studied for their mineralogy, oxygen, and carbon isotopic compositions and dated by the 230Th/U method. The 230Th/U dating results demonstrate that ages of the rock paintings can be bracketed between 1856±16 and 1728±41yr BP corresponding to the middle to the end of the Eastern Han dynasty (AD 25 to 220). The results imply that the rock painting practices at Mt. Huashan probably lasted more than a century, and the Zuojiang rock art is younger than that at Baiyunwan and Cangyuan in Yunnan Province by 1 to 10 centuries.

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22

Marschall, Wolfgang. "Fontein, Jan: The Art of Southeast Asia." Anthropos 104, no. 1 (2009): 223–24. http://dx.doi.org/10.5771/0257-9774-2009-1-223.

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23

Clark, John. "Negotiating Change in Recent Southeast Asian Art." Southeast of Now: Directions in Contemporary and Modern Art in Asia 2, no. 2 (2018): 43–92. http://dx.doi.org/10.1353/sen.2018.0002.

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24

Miksic, John N. "Reflections on Teaching Art of Southeast Asia." Southeast of Now: Directions in Contemporary and Modern Art in Asia 4, no. 1 (2020): 155–60. http://dx.doi.org/10.1353/sen.2020.0016.

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25

Clark, John. "Teaching Modern and Contemporary Southeast Asian Art." Southeast of Now: Directions in Contemporary and Modern Art in Asia 4, no. 1 (2020): 161–62. http://dx.doi.org/10.1353/sen.2020.0017.

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26

Taylor, Nora A. "The Southeast Asian Art Historian as Ethnographer?" Third Text 25, no. 4 (July 2011): 475–88. http://dx.doi.org/10.1080/09528822.2011.587948.

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27

Мякинен, Риитта. "СЕВЕРНАЯ ЕВРОПА ИЛИ ЮГ? МЕЖДУНАРОДНЫЕ СВЯЗИ ДОБРОВОЛЬНЫХ ОБЪЕДИНЕНИЙ ФИНЛЯНДИИ В МЕЖВОЕННЫЙ ПЕРИОД." Nordic and Baltic Studies Review, no. 1 (December 2016): 9. http://dx.doi.org/10.15393/j103.art.2016.483.

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28

Mauche, Judith A. Habicht. "Great Towns and Regional Polities in the Prehistoric American Southwest and Southeast.:Great Towns and Regional Polities in the Prehistoric American Southwest and Southeast." American Anthropologist 102, no. 4 (December 2000): 915–16. http://dx.doi.org/10.1525/aa.2000.102.4.915.

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29

Crowley, Daniel J. "The Art Market in Southern Oceania." African Arts 18, no. 2 (February 1985): 68. http://dx.doi.org/10.2307/3336194.

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30

Jalandoni, Andrea, Paul Taçon, and Robert Haubt. "A Systematic Quantitative Literature Review of Southeast Asian and Micronesian Rock Art." Advances in Archaeological Practice 7, no. 4 (June 11, 2019): 423–34. http://dx.doi.org/10.1017/aap.2019.10.

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ABSTRACTEven though Southeast Asia is one of the most densely populated regions of the world, its rock art is relatively unknown, and the rock art of Micronesia is even less so. As a starting point for comparing Philippine rock art within the region, a systematic quantitative literature review (SQLR) was conducted to assess the current body of accessible publications. The SQLR resulted in 126 viable references, and characteristics of those references were quantified and analyzed to ascertain the qualities of research published to date. The SQLR results show that scholarship in Southeast Asian rock art is increasing and that the research is dominated by Australia-affiliated scholars. It also quantitatively affirmed that the most noted color for rock art in the region is red and the most commonly identified motif is anthropomorphic. Many motifs found elsewhere in Southeast Asia are notably absent in the known corpus of Philippine rock art. Finally, we discuss SQLR methodology and propose integrating collaborative semantic web applications to increase efficiency and relevance.

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31

Madeira, Lígia Mori, and Leonardo Geliski. "O combate a crimes de corrupção pela Justiça Federal da Região Sul do Brasil." Revista de Administração Pública 53, no. 6 (December 2019): 987–1010. http://dx.doi.org/10.1590/0034-761220180237.

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Abstract This article studies the operation of the Federal Regional Court of the 4th Region (TRF4) in the fight against corruption crimes. Judgments produced by the TRF4 criminal courts between 2003 and 2016 underwent text analysis using the dictionary method, seeking to outline the profile of crimes and defendants. Despite the changes in the web accountability institutions, with the outbreak of major federal police operations, technological uses, new legal devices and a high degree of concentration between the agencies, there is a small proportion of grand corruption crime, involving middle and high-ranking bureaucrats and more sophisticated crimes with greater financial value. Crimes involving contraband and petty corruption take up much of the day to day of the judiciary in the south region of the country, at least in the criminal intermediate courts, where the judge appeals decisions coming from specialized and generalist criminal courts.

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32

Tan, Noel. "Rock Art Research in Southeast Asia: A Synthesis." Arts 3, no. 1 (February 13, 2014): 73–104. http://dx.doi.org/10.3390/arts3010073.

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33

Capinera, J. L. "Insects in Art and Religion: The American Southwest." American Entomologist 39, no. 4 (1993): 221–30. http://dx.doi.org/10.1093/ae/39.4.221.

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34

Swartzburg, Susan G. "Resources for the conservation of Southeast Asian art." Art Libraries Journal 18, no. 2 (1993): 39–43. http://dx.doi.org/10.1017/s0307472200008336.

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There is a desperate and urgent need to conserve works of art and documentary materials in Southeast Asia, where the rigours of the climate and the effects of war and political unrest have ravaged the cultural heritage. An initiative launched by Cornell University in Cambodia, with the intention of preserving documentary materials and training Cambodian librarians in conservation techniques, may result in the development of a badly-needed regional centre which would complement the National Archives of the Philippines, and the Regional Conservation Centres established by IFLA on the Pacific rim, in Australia and Japan. Information and expertise are available from UNESCO, ICOMOS, ICCROM, ICOM, the Getty Conservation Institute, IIC, IADA, IPC, IFLA, ICA, and other international and US organisations.

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35

Corey, Pamela N. "Art History and the Modern in Southeast Asia." Art Journal 79, no. 1 (January 2, 2020): 116–19. http://dx.doi.org/10.1080/00043249.2020.1724039.

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36

Low, Yvonne, Roger Nelson, and Clare Veal. "Editorial Introduction: Gender in Southeast Asian Art Histories." Southeast of Now: Directions in Contemporary and Modern Art in Asia 3, no. 1 (2019): 1–11. http://dx.doi.org/10.1353/sen.2019.0000.

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37

Adams, E. Charles, J. J. Brody, Catherine J. Scott, and Steven A. LeBlanc. "Mimbres Pottery: Ancient Art of the American Southwest." American Indian Quarterly 11, no. 2 (1987): 177. http://dx.doi.org/10.2307/1183716.

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38

Southworth, William A. "THE DISEMBODIED HUMAN HEAD IN SOUTHEAST ASIAN ART." Aziatische Kunst 43, no. 2 (July 25, 2013): 27–30. http://dx.doi.org/10.1163/2543-1749-90000347.

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39

Chua, Kevin. "On Teaching Modern and Contemporary Southeast Asian Art." Third Text 25, no. 4 (July 2011): 467–73. http://dx.doi.org/10.1080/09528822.2011.587947.

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40

Abdyrasulova, Rakhima, Gulnara Maksytova, Kimiya Torogeldieva, Rano Mamaturdieva, Akinai Kushbakova, Zura Turdubaeva, and Zhypargul Abdullaeva. "Embroidery Art in the Southwest Region of Kyrgyzstan." Art and Design Review 09, no. 03 (2021): 263–67. http://dx.doi.org/10.4236/adr.2021.93021.

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41

Krupp, E. C. "Crab Supernova Rock Art." Journal of Skyscape Archaeology 1, no. 2 (December 3, 2015): 167–97. http://dx.doi.org/10.1558/jsa.v1i2.28255.

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“Star” and crescent combinations in rock art in the American Southwest were first interpreted in 1955 as eyewitness depictions of the 1054 AD supernova explosion that produced the Crab nebula. While the Crab nebula is visible only telescopically, the event that generated it was brilliant, and for a time, only the sun and moon were brighter. Additional Crab supernova candidates in California and Southwest rock art were suggested 20 years later, and they included Chaco Canyon’s Penasco Blanco pictograph panel, which became the poster child for Crab supernova rock art and is now called “Supernova” on signage at the site. By 1979, a list of 21 Crab supernova rock art sites was assembled, and the inventory has continued to expand more slowly since then. This critical review of the supernova interpretation of star/crescent rock art, the product of 35 years of fieldwork, required an independent re-examination of all of the primary sites in person. That enterprise has already demonstrated that the Tenabo, New Mexico panel does not illustrate the Crab supernova and that the two Arizona sites on which the entire supernova rock art premise is based (White Mesa and “Navaho Canyon”) are unlikely records of the event. This detailed evaluation of the primary proposed star/crescent images indicates none is a satisfactory portrayal of the striking 1054 AD supernova.

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42

Enxuto, João, and Erica Love. "The Institute for Southern Contemporary Art (ISCA)." Finance and Society 2, no. 2 (December 19, 2016): 173–74. http://dx.doi.org/10.2218/finsoc.v2i2.1730.

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The Institute for Southern Contemporary Art (ISCA) was founded in 2016 to advance a meaningful alternative to the problem of contemporary art production and its political economy. While technology is intensifying the soft power of speculation, reputation, and the hype of networks, recent changes in technical infrastructure have done very little to shake the narrowly-defined and limited objectives of contemporary art. Technological change alone hasn’t curtailed an art field defined by individualism and competition, despite counter-claims made by progressive artists and collectives. Following a long-century of escapist fantasies projected as utopian horizons, there is little to offer up as a functional alternative to an art market spiralling toward ever more comprehensive financialization. At a time when disdain for contemporary art is proliferating, undoing this system accelerating toward stagnation cannot be left to the ‘inevitable’ unravelling of its internal contradictions. ISCA offers another option by rerouting capital from the contemporary art market to fund a path to working otherwise, culminating in a think-tank and independent program to promote new terms for art production.

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43

Wardani, Farah. "Finding the place for art archives: Reflections from archiving Indonesian and Southeast Asian art." Wacana 20, no. 2 (April 15, 2019): 209. http://dx.doi.org/10.17510/wacana.v20i2.736.

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44

Schneider, Elizabeth Ann. "Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art." African Arts 25, no. 4 (October 1992): 91. http://dx.doi.org/10.2307/3336973.

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45

Dowson, Thomas A. "Reading art, writing history: Rock art and social change in Southern Africa." World Archaeology 25, no. 3 (February 1994): 332–45. http://dx.doi.org/10.1080/00438243.1994.9980249.

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46

Alatorre‐Zamora, M. A., and J. O. Campos‐Enríquez. "La Primavera caldera (Mexico): Structure inferred from gravity and hydrogeological considerations." GEOPHYSICS 56, no. 7 (July 1991): 992–1002. http://dx.doi.org/10.1190/1.1443132.

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La Primavera geothermal field (Mexico) is associated with a Pleistocene rhyolitic caldera. This gravity study was conducted to assist its development and explotation. Digital processing of the gravity data (upward and downward continuations, vertical derivatives) enabled delineation of the main features of the caldera’s subsurficial structure. A 3-D structural model was established, which could be supported by gravity modeling (2-D and 3-D forward modeling). Accordingly, the caldera is featured by an asymmetric subsurface structure: a major depression in its northern half, and a boomerang‐shaped structural high to the south. Lineaments reflecting the regional northwest‐southeast and northeast‐southwest structural fabric were observed. The basal volcanics units are affected by lineaments of the northwest‐southeast system, whereas the northeast‐southwest system affects only the shallower units. The structural high has a northwest‐southeast trend at the western and southwestern portion of the caldera. From its middle part eastward, it has a northeast‐southwest direction. The actual geothermal production zone is located above this structural high, on the portion where it changes orientation. Correlation with hydrogeological and geochemical data enabled interpreting the different geologic structures in the context of the hydrothermal system: at depth the northwest‐southeast structures seem to control lateral fluid migration, and connect areas of enhanced permeability (i.e., the central production zone and the hydrothermal manifestations located at the caldera’s western rim). Enhanced zones of fracturing favorable for entrapping hydrothermal fluids and structural accidents that may act as conduits (respectively as barriers) for fluids are delineated. In particular, a new target zone, where the production of geothermal fluids may extend, has been identified to the south of the production zone. The structural image elaborated here constitutes a geologic frame for the prevailing hydrogeological conceptual model. This structural information is also useful for the tasks of selecting sites for the reinjection of geothermal brines.

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47

Teh, David. "The Preter-National: The Southeast Asian Contemporary and What Haunts It." ARTMargins 6, no. 1 (February 2017): 33–63. http://dx.doi.org/10.1162/artm_a_00165.

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Southeast Asian modern art has thus far been historicized largely within national historical frameworks. The region's contemporary art has been pulled, sometimes unwillingly, into those national frameworks, even as it enters a global market and takes part in a more transnational dialogue. What is the geography proper to contemporary art? And what insights might a regional perspective afford about art that speaks to a world beyond the nation, but resists outright assimilation under the rubric of ‘the global’? This essay proposes a calibration of three art historical frames – national, regional and international. I argue that far from meaning transcendence of national frames, even where artists intend it, contemporaneity compounds and complicates them. I examine two specific manifestations of contemporaneity, one that emerged at the height of the Cold War in the work of a Sino-Thai modernist, Chang Sae-tang; the other in the broaching of Cold War trauma in art and film of the ‘post-historical’ twenty-first century. Neither ‘contemporary’ can be understood without its respective national framing, but that framing alone proves inadequate for describing the complex histories, subjectivities, and formal choices with which Southeast Asian artists have grappled. If studies of modern art demanded recourse to specific national histories, the study of contemporary art will require no less specific histories of the international.

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48

Parkington, John. "Visionary animal: rock art from southern Africa." Azania: Archaeological Research in Africa 54, no. 4 (October 2, 2019): 544–46. http://dx.doi.org/10.1080/0067270x.2019.1676055.

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49

Bunker, Emma C. "The Art of Eastern and Southern Africa." African Arts 21, no. 3 (May 1988): 76. http://dx.doi.org/10.2307/3336451.

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DOWSON, T. A., and J. D. LEWIS-WILLIAMS. "Myths, Museums and Southern African Rock Art." South African Historical Journal 29, no. 1 (November 1993): 44–60. http://dx.doi.org/10.1080/02582479308671761.

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