This book addresses the art historical category of "contemporary art" from a transregional perspective, but unlike other volumes of its kind, it focuses in on non-Western instantiations of "the contemporary."

The book concerns itself with the historical conditions in which a radically new mode of artistic production, distribution, and consumption – called "contemporary art" – emerged in some countries of Eastern Europe, the post-Soviet republics of the USSR, India, Latin America, and the Middle East, following both local and broader sociopolitical processes of modernization and neoliberalization. Its main argument is that one cannot fully engage with the idea of the "global contemporary" without also paying careful attention to the particular, local, and/or national symptoms of the contemporary condition. Part I is methodological and theoretical in scope, while Part II is historical and documentary. For the latter, a number of case studies address the emergence of the category "contemporary art" in the context of Lebanon, Egypt, India, Hungary, Slovenia, Croatia, Bosnia and Herzegovina, Armenia, and Moldova.

The book will be of interest to scholars working in art history, globalism, cultural studies, and postcolonial studies.

This book addresses the art historical category of "contemporary art" from a transregional perspective, but unlike other volumes of its kind, it focuses in on non-Western instantiations of "the contemporary."

The book concerns itself with the historical conditions in which a radically new mode of artistic production, distribution, and consumption – called "contemporary art" – emerged in some countries of Eastern Europe, the post-Soviet republics of the USSR, India, Latin America, and the Middle East, following both local and broader sociopolitical processes of modernization and neoliberalization. Its main argument is that one cannot fully engage with the idea of the "global contemporary" without also paying careful attention to the particular, local, and/or national symptoms of the contemporary condition. Part I is methodological and theoretical in scope, while Part II is historical and documentary. For the latter, a number of case studies address the emergence of the category "contemporary art" in the context of Lebanon, Egypt, India, Hungary, Slovenia, Croatia, Bosnia and Herzegovina, Armenia, and Moldova.

The book will be of interest to scholars working in art history, globalism, cultural studies, and postcolonial studies.

This edited scholarly volume offers a perspective on the history of the genre of the nude in the Middle East and includes contributions written by scholars from several disciplines (art history, history, anthropology). Each chapter provides a distinct perspective on the early days of the fine arts genre of the nude, as its author studies a particular aspect through analysis of artworks and historical documents from the late nineteenth- and early twentieth-centuries. The volume examines a rich body of reproductions of both primary documents and of works of art made by Lebanese, Egyptian, Syrian artists or of anonymous book illustrations from the nineteenth century Ottoman erotic literature.

This edited scholarly volume offers a perspective on the history of the genre of the nude in the Middle East and includes contributions written by scholars from several disciplines (art history, history, anthropology). Each chapter provides a distinct perspective on the early days of the fine arts genre of the nude, as its author studies a particular aspect through analysis of artworks and historical documents from the late nineteenth- and early twentieth-centuries. The volume examines a rich body of reproductions of both primary documents and of works of art made by Lebanese, Egyptian, Syrian artists or of anonymous book illustrations from the nineteenth century Ottoman erotic literature.

This book addresses the art historical category of "contemporary art" from a transregional perspective, but unlike other volumes of its kind, it focuses in on non-Western instantiations of "the contemporary."

The book concerns itself with the historical conditions in which a radically new mode of artistic production, distribution, and consumption – called "contemporary art" – emerged in some countries of Eastern Europe, the post-Soviet republics of the USSR, India, Latin America, and the Middle East, following both local and broader sociopolitical processes of modernization and neoliberalization. Its main argument is that one cannot fully engage with the idea of the "global contemporary" without also paying careful attention to the particular, local, and/or national symptoms of the contemporary condition. Part I is methodological and theoretical in scope, while Part II is historical and documentary. For the latter, a number of case studies address the emergence of the category "contemporary art" in the context of Lebanon, Egypt, India, Hungary, Slovenia, Croatia, Bosnia and Herzegovina, Armenia, and Moldova.

The book will be of interest to scholars working in art history, globalism, cultural studies, and postcolonial studies.

This book addresses the art historical category of "contemporary art" from a transregional perspective, but unlike other volumes of its kind, it focuses in on non-Western instantiations of "the contemporary."

The book concerns itself with the historical conditions in which a radically new mode of artistic production, distribution, and consumption – called "contemporary art" – emerged in some countries of Eastern Europe, the post-Soviet republics of the USSR, India, Latin America, and the Middle East, following both local and broader sociopolitical processes of modernization and neoliberalization. Its main argument is that one cannot fully engage with the idea of the "global contemporary" without also paying careful attention to the particular, local, and/or national symptoms of the contemporary condition. Part I is methodological and theoretical in scope, while Part II is historical and documentary. For the latter, a number of case studies address the emergence of the category "contemporary art" in the context of Lebanon, Egypt, India, Hungary, Slovenia, Croatia, Bosnia and Herzegovina, Armenia, and Moldova.

The book will be of interest to scholars working in art history, globalism, cultural studies, and postcolonial studies.

This edited scholarly volume offers a perspective on the history of the genre of the nude in the Middle East and includes contributions written by scholars from several disciplines (art history, history, anthropology). Each chapter provides a distinct perspective on the early days of the fine arts genre of the nude, as its author studies a particular aspect through analysis of artworks and historical documents from the late nineteenth- and early twentieth-centuries. The volume examines a rich body of reproductions of both primary documents and of works of art made by Lebanese, Egyptian, Syrian artists or of anonymous book illustrations from the nineteenth century Ottoman erotic literature.

This edited scholarly volume offers a perspective on the history of the genre of the nude in the Middle East and includes contributions written by scholars from several disciplines (art history, history, anthropology). Each chapter provides a distinct perspective on the early days of the fine arts genre of the nude, as its author studies a particular aspect through analysis of artworks and historical documents from the late nineteenth- and early twentieth-centuries. The volume examines a rich body of reproductions of both primary documents and of works of art made by Lebanese, Egyptian, Syrian artists or of anonymous book illustrations from the nineteenth century Ottoman erotic literature.