Emily C. Burns is Director, Charles M. Russell Center for the Study of Art of the American West, and Associate Professor of Art History at University of Oklahoma.Alice M. Rudy Price is Adjunct Assistant Professor at Temple University, Tyler School of Art and Architecture, and Thomas Jefferson University, College of Architecture and the Built Environment.

• 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

Emily C. Burns is Director, Charles M. Russell Center for the Study of Art of the American West, and Associate Professor of Art History at University of Oklahoma.Alice M. Rudy Price is Adjunct Assistant Professor at Temple University, Tyler School of Art and Architecture, and Thomas Jefferson University, College of Architecture and the Built Environment.

• 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

Emily C. Burns is Director, Charles M. Russell Center for the Study of Art of the American West, and Associate Professor of Art History at University of Oklahoma.Alice M. Rudy Price is Adjunct Assistant Professor at Temple University, Tyler School of Art and Architecture, and Thomas Jefferson University, College of Architecture and the Built Environment.

• 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