Objects/Histories – serie

In the late nineteenth century and early twentieth, hundreds of amateur photographers took part in the photographic survey movement in England. They sought to record the material remains of the English past so that it might be preserved for future generations. In The Camera as Historian, the groundbreaking historical and visual anthropologist Elizabeth Edwards works with an archive of nearly 55,000 photographs taken by 1,000 photographers, mostly unknown until now. She approaches the survey movement and its social and material practices ethnographically. Considering how the amateur photographers understood the value of their project, Edwards links the surveys to concepts of leisure, understandings of the local and the national, and the rise of popular photography. Her examination of how the photographers negotiated between scientific objectivity and aesthetic responses to the past leads her to argue that the survey movement was as concerned with the conditions of its own modernity and the creation of an archive for an anticipated future as it was nostalgic about the imagined past. Including more than 120 vibrant images, The Camera as Historian offers new perspectives on the forces that shaped Victorian and Edwardian Britain, as well as on contemporary debates about cultural identity, nationality, empire, material practices, and art.

In the early twentieth century, a group of elite East coast women turned to the American Southwest in search of an alternative to European-derived concepts of culture. In Culture in the Marketplace Molly H. Mullin provides a detailed narrative of the growing influence that this network of women had on the Native American art market-as well as the influence these activities had on them-in order to investigate the social construction of value and the history of American concepts of culture.Drawing on fiction, memoirs, journalistic accounts, and extensive interviews with artists, collectors, and dealers, Mullin shows how anthropological notions of culture were used to valorize Indian art and create a Southwest Indian art market. By turning their attention to Indian affairs and art in Santa Fe, New Mexico, she argues, these women escaped the gender restrictions of their eastern communities and found ways of bridging public and private spheres of influence. Tourism, in turn, became a means of furthering this cultural colonization. Mullin traces the development of aesthetic worth as it was influenced not only by politics and profit but also by gender, class, and regional identities, revealing how notions of “culture” and “authenticity” are fundamentally social ones. She also shows how many of the institutions that the early patrons helped to establish continue to play an important role in the contemporary market for American Indian art. This book will appeal to audiences in cultural anthropology, art history, American studies, women’s studies, and cultural history.

Until now, Orientalist art-exemplified by paintings of harems, slave markets, or bazaars-has predominantly been understood to reflect Western interpretations and to perpetuate reductive, often demeaning stereotypes of the exotic East. Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive differences, which, on examination, can reveal a visual language of resistance to colonization. The essays also demonstrate how marginalized voices and viewpoints-especially women's-within Western Orientalism decentered and destabilized colonial authority.Looking at the political significance of cross-cultural encounters refracted through the visual languages of Orientalism, the contributors engage with pressing recent debates about indigenous agency, postcolonial identity, and gendered subjectivities. The very range of artists, styles, and forms discussed in this collection broadens contemporary understandings of Orientalist art. Among the artists considered are the Algerian painters Azouaou Mammeri and Mohammed Racim; Turkish painter Osman Hamdi; British landscape painter Barbara Bodichon; and the French painter Henri Regnault. From the liminal "Third Space" created by mosques in postcolonial Britain to the ways nineteenth-century harem women negotiated their portraits by British artists, the essays in this collection force a rethinking of the Orientalist canon.This innovative volume will appeal to those interested in art history, theories of gender, and postcolonial studies.Contributors. Jill Beaulieu, Roger Benjamin, Zeynep Çelik, Deborah Cherry, Hollis Clayson, Mark Crinson, Mary Roberts

Moving the critical debate about photography away from its current Euro-American center of gravity, Photography’s Other Histories breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a radically different account, describing photography as a globally disseminated and locally appropriated medium. Essays firmly grounded in photographic practice-in the actual making of pictures-suggest the extraordinary diversity of nonwestern photography.Richly illustrated with over 100 images, Photography’s Other Histories explores from a variety of regional, cultural, and historical perspectives the role of photography in raising historical consciousness. It includes two first-person pieces by indigenous Australians and one by a Seminole/Muskogee/Dine' artist. Some of the essays analyze representations of colonial subjects-from the limited ways Westerners have depicted Navajos to Japanese photos recording the occupation of Manchuria to the changing "contract" between Aboriginal subjects and photographers. Other essays highlight the visionary quality of much popular photography. Case studies centered in early-twentieth-century Peru and contemporary India, Kenya, and Nigeria chronicle the diverse practices that have flourished in postcolonial societies. Photography’s Other Histories recasts popular photography around the world, as not simply reproducing culture but creating it.Contributors. Michael Aird, Heike Behrend, Jo-Anne Driessens, James Faris, Morris Low, Nicolas Peterson, Christopher Pinney, Roslyn Poignant, Deborah Poole, Stephen Sprague, Hulleah Tsinhnahjinnie, Christopher Wright

In Senghor’s Shadow is a unique study of modern art in postindependence Senegal. Elizabeth Harney examines the art that flourished during the administration of LÉopold SÉdar Senghor, Senegal’s first president, and in the decades since he stepped down in 1980. As a major philosopher and poet of Negritude, Senghor envisioned an active and revolutionary role for modern artists, and he created a well-funded system for nurturing their work. In questioning the canon of art produced under his aegis-known as the Ecole de Dakar-Harney reconsiders Senghor’s Negritude philosophy, his desire to express Senegal’s postcolonial national identity through art, and the system of art schools and exhibits he developed. She expands scholarship on global modernisms by highlighting the distinctive cultural history that shaped Senegalese modernism and the complex and often contradictory choices made by its early artists.Heavily illustrated with nearly one hundred images, including some in color, In Senghor’s Shadow surveys the work of a range of Senegalese artists, including painters, muralists, sculptors, and performance-based groups-from those who worked at the height of Senghor’s patronage system to those who graduated from art school in the early 1990s. Harney reveals how, in the 1970s, avant-gardists contested Negritude beliefs by breaking out of established artistic forms. During the 1980s and 1990s, artists such as Moustapha DimÉ, Germaine Anta Gaye, and Kan-Si engaged with avant-garde methods and local artistic forms to challenge both Senghor’s legacy and the broader art world’s understandings of cultural syncretism. Ultimately, Harney’s work illuminates the production and reception of modern Senegalese art within the global arena.

An indigenous reservation in the colony of Victoria, Australia, the Coranderrk Aboriginal Station was a major site of cross-cultural contact the mid-nineteenth century and early twentieth. Coranderrk was located just outside Melbourne, and from its opening in the 1860s the colonial government commissioned many photographs of its Aboriginal residents. The photographs taken at Coranderrk Station circulated across the western world; they were mounted in exhibition displays and classified among other ethnographic “data” within museum collections. The immense Coranderrk photographic archive is the subject of this detailed, richly illustrated examination of the role of visual imagery in the colonial project. Offering close readings of the photographs in the context of Australian history and nineteenth- and early-twentieth-century photographic practice, Jane Lydon reveals how western society came to understand Aboriginal people through these images. At the same time, she demonstrates that the photos were not solely a tool of colonial exploitation. The residents of Coranderrk had a sophisticated understanding of how they were portrayed, and they became adept at manipulating their representations.Lydon shows how the photographic portrayals of the Aboriginal residents of Coranderrk changed over time, reflecting various ideas of the colonial mission-from humanitarianism to control to assimilation. In the early twentieth century, the images were used on stereotypical postcards circulated among the white population, showing what appeared to be compliant, transformed Aboriginal subjects. The station closed in 1924 and disappeared from public view until it was rediscovered by scholars years later. Aboriginal Australians purchased the station in 1998, and, as Lydon describes, today they are using the Coranderrk photographic archive in new ways, to identify family members and tell stories of their own.

Between 1940 and 1960, many Native American artists made bold departures from what was considered the traditional style of Indian painting. They drew on European and other non-Native American aesthetic innovations to create hybrid works that complicated notions of identity, authenticity, and tradition. This richly illustrated volume focuses on the work of these pioneering Native artists, including Pueblo painters JosÉ Lente and Jimmy Byrnes, Ojibwe painters Patrick DesJarlait and George Morrison, Cheyenne painter Dick West, and Dakota painter Oscar Howe. Bill Anthes argues for recognizing the transformative work of these Native American artists as distinctly modern, and he explains how bringing Native American modernism to the foreground rewrites the broader canon of American modernism.In the mid-twentieth century, Native artists began to produce work that reflected the accelerating integration of Indian communities into the national mainstream as well as, in many instances, their own experiences beyond Indian reservations as soldiers or students. During this period, a dynamic exchange among Native and non-Native collectors, artists, and writers emerged. Anthes describes the roles of several anthropologists in promoting modern Native art, the treatment of Native American “Primitivism” in the writing of the Jewish American critic and painter Barnett Newman, and the painter Yeffe Kimball’s brazen appropriation of a Native identity. While much attention has been paid to the inspiration Native American culture provided to non-Native modern artists, Anthes reveals a mutual cross-cultural exchange that enriched and transformed the art of both Natives and non-Natives.

In Alma Lopez’s digital print Lupe & Sirena in Love (1999), two icons-the Virgin of Guadalupe and the mermaid Sirena, who often appears on Mexican lottery cards-embrace one another, symbolically claiming a place for same-sex desire within Mexican and Chicano/a religious and popular cultures. Ester Hernandez’s 1976 etching Libertad/Liberty depicts a female artist chiseling away at the Statue of Liberty, freeing from within it a regal Mayan woman and, in the process, creating a culturally composite Lady Liberty descended from indigenous and mixed bloodlines. In her painting Coyolxauhqui Last Seen in East Oakland (1993), Irene Perez reimagines as whole the body of the Aztec warrior goddess dismembered in myth. These pieces are part of the dynamic body of work presented in this pioneering, lavishly illustrated study, the first book primarily focused on Chicana visual arts.Creating an invaluable archive, Laura E. PÉrez examines the work of more than forty Chicana artists across a variety of media including painting, printmaking, sculpture, performance, photography, film and video, comics, sound recording, interactive CD-ROM, altars and other installation forms, and fiction, poetry, and plays. While key works from the 1960s and 1970s are discussed, most of the pieces considered were produced between 1985 and 2001. Providing a rich interpretive framework, PÉrez describes how Chicana artists invoke a culturally hybrid spirituality to challenge racism, bigotry, patriarchy, and homophobia. They make use of, and often radically rework, pre-Columbian Mesoamerican and other non-Western notions of art and art-making, and they struggle to create liberating versions of familiar iconography such as the Virgin of Guadalupe and the Sacred Heart. Filled with representations of spirituality and allusions to non-Western visual and cultural traditions, the work of these Chicana artists is a vital contribution to a more inclusive canon of American arts.

Gods in the Bazaar is a fascinating account of the printed images known in India as “calendar art” or “bazaar art,” the color-saturated, mass-produced pictures often used on calendars and in advertisements, featuring deities and other religious themes as well as nationalist leaders, alluring women, movie stars, chubby babies, and landscapes. Calendar art appears in all manner of contexts in India: in chic elite living rooms, middle-class kitchens, urban slums, village huts; hung on walls, stuck on scooters and computers, propped up on machines, affixed to dashboards, tucked into wallets and lockets. In this beautifully illustrated book, Kajri Jain examines the power that calendar art wields in Indian mass culture, arguing that its meanings derive as much from the production and circulation of the images as from their visual features. Jain draws on interviews with artists, printers, publishers, and consumers as well as analyses of the prints themselves to trace the economies-of art, commerce, religion, and desire-within which calendar images and ideas about them are formulated. For Jain, an analysis of the bazaar, or vernacular commercial arena, is crucial to understanding not only the calendar art that circulates within the bazaar but also India’s postcolonial modernity and the ways that its mass culture has developed in close connection with a religiously inflected nationalism. The bazaar is characterized by the coexistence of seemingly incompatible elements: bourgeois-liberal and neoliberal modernism on the one hand, and vernacular discourses and practices on the other. Jain argues that from the colonial era to the present, capitalist expansion has depended on the maintenance of these multiple coexisting realms: the sacred, the commercial, and the artistic; the official and the vernacular.

Until now, the notion of a cross-cultural dialogue has not figured in the analysis of harem paintings, largely because the Western fantasy of the harem has been seen as the archetype for Western appropriation of the Orient. In Intimate Outsiders, the art historian Mary Roberts brings to light a body of harem imagery that was created through a dynamic process of cultural exchange. Roberts focuses on images produced by nineteenth-century European artists and writers who were granted access to harems in the urban centers of Istanbul and Cairo. As invited guests, these Europeans were “intimate outsiders” within the women’s quarters of elite Ottoman households. At the same time, elite Ottoman women were offered intimate access to European culture through their contact with these foreign travelers.Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark. She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the 1840s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies. The elite Ottoman women who orchestrated these visits often challenged their guests’ misapprehensions about harem life, and a number of them exercised power as patrons, commissioning portraits from European artists. Their roles as art patrons defy the Western idea of the harem woman as passive odalisque.

Until now, the notion of a cross-cultural dialogue has not figured in the analysis of harem paintings, largely because the Western fantasy of the harem has been seen as the archetype for Western appropriation of the Orient. In Intimate Outsiders, the art historian Mary Roberts brings to light a body of harem imagery that was created through a dynamic process of cultural exchange. Roberts focuses on images produced by nineteenth-century European artists and writers who were granted access to harems in the urban centers of Istanbul and Cairo. As invited guests, these Europeans were “intimate outsiders” within the women’s quarters of elite Ottoman households. At the same time, elite Ottoman women were offered intimate access to European culture through their contact with these foreign travelers.Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark. She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the 1840s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies. The elite Ottoman women who orchestrated these visits often challenged their guests’ misapprehensions about harem life, and a number of them exercised power as patrons, commissioning portraits from European artists. Their roles as art patrons defy the Western idea of the harem woman as passive odalisque.

In Unsettled Visions, the activist, curator, and scholar Margo Machida presents a pioneering, in-depth exploration of contemporary Asian American visual art. Machida focuses on works produced during the watershed 1990s, when surging Asian immigration had significantly altered the demographic, cultural, and political contours of Asian America, and a renaissance in Asian American art and visual culture was well underway. Machida conducted extensive interviews with ten artists working during this transformative period: women and men of Chinese, Filipino, Indian, Vietnamese, Korean, and Japanese descent, most of whom migrated to the United States. In dialogue with the artists, Machida illuminates and contextualizes the origins of and intent behind bodies of their work. Unsettled Visions is an engrossing look at a vital art scene and a subtle account of the multiple, shifting meanings of “Asianness” in Asian American art.Analyses of the work of individual artists are grouped around three major themes that Asian American artists engaged with during the 1990s: representations of the Other; social memory and trauma; and migration, diaspora, and sense of place. Machida considers the work of the photographers Pipo Nguyen-duy and Hanh Thi Pham, the printmaker and sculptor Zarina Hashmi, and installations by the artists Tomie Arai, Ming Fay, and Yong Soon Min. She examines the work of Marlon Fuentes, whose films and photographs play with the stereotyping conventions of visual anthropology, and prints in which Allan deSouza addresses the persistence of Orientalism in American popular culture. Machida reflects on Kristine Aono’s museum installations embodying the multigenerational effects of the internment of Japanese Americans during World War II and on Y. David Chung’s representations of urban spaces transformed by migration in works ranging from large-scale charcoal drawings to multimedia installations and an “electronic rap opera.”

Introducing Photographies East, Rosalind C. Morris notes that although the camera is now a taken-for-granted element of everyday life in most parts of the world, it is difficult to appreciate “the shock and sense of utter improbability that accompanied the new technology” as it was introduced in Asia (and elsewhere). In this collection, scholars of Asia, most of whom are anthropologists, describe frequent attribution of spectral powers to the camera, first brought to Asia by colonialists, as they examine the transformations precipitated or accelerated by the spread of photography across East and Southeast Asia. In essays resonating across theoretical, historical, and geopolitical lines, they engage with photography in China, Japan, Taiwan, and Thailand, and on the islands of Aru, Aceh, and Java in what is now Indonesia. The contributors analyze how in specific cultural and historical contexts, the camera has affected experiences of time and subjectivity, practices of ritual and tradition, and understandings of death. They highlight the links between photography and power, looking at how the camera has figured in the operations of colonialism, the development of nationalism, the transformation of monarchy, and the militarization of violence. Moving beyond a consideration of historical function or effect, the contributors also explore the forms of illumination and revelation for which the camera has offered itself as instrument and symbol. And they trace the emergent forms of alienation and spectralization, as well as the new kinds of fetishism, that photography has brought in its wake. Taken together, the essays chart a bravely interdisciplinary path to visual studies, one that places the particular knowledge of a historicized anthropology in a comparative frame and in conversation with aesthetics and art history.Contributors. James L. Hevia, Marilyn Ivy, Thomas LaMarre, Rosalind C. Morris, Nickola Pazderic, John Pemberton, Carlos Rojas, James T. Siegel, Patricia Spyer

Following India’s independence in 1947, Indian artists creating modern works of art sought to maintain a local idiom, an “Indianness” representative of their newly independent nation, while connecting to modernism, an aesthetic then understood as both universal and presumptively Western. These artists depicted India’s precolonial past while embracing aspects of modernism’s pursuit of the new, and they challenged the West’s dismissal of non-Western places and cultures as sources of primitivist imagery but not of modernist artworks. In Art for a Modern India, Rebecca M. Brown explores the emergence of a self-conscious Indian modernism-in painting, drawing, sculpture, architecture, film, and photography-in the years between independence and 1980, by which time the Indian art scene had changed significantly and postcolonial discourse had begun to complicate mid-century ideas of nationalism.Through close analyses of specific objects of art and design, Brown describes how Indian artists engaged with questions of authenticity, iconicity, narrative, urbanization, and science and technology. She explains how the filmmaker Satyajit Ray presented the rural Indian village as a socially complex space rather than as the idealized site of “authentic India” in his acclaimed Apu Trilogy, how the painter Bhupen Khakhar reworked Indian folk idioms and borrowed iconic images from calendar prints in his paintings of urban dwellers, and how Indian architects developed a revivalist style of bold architectural gestures anchored in India’s past as they planned the Ashok Hotel and the Vigyan Bhavan Conference Center, both in New Delhi. Discussing these and other works of art and design, Brown chronicles the mid-twentieth-century trajectory of India’s modern visual culture.

Following India’s independence in 1947, Indian artists creating modern works of art sought to maintain a local idiom, an “Indianness” representative of their newly independent nation, while connecting to modernism, an aesthetic then understood as both universal and presumptively Western. These artists depicted India’s precolonial past while embracing aspects of modernism’s pursuit of the new, and they challenged the West’s dismissal of non-Western places and cultures as sources of primitivist imagery but not of modernist artworks. In Art for a Modern India, Rebecca M. Brown explores the emergence of a self-conscious Indian modernism-in painting, drawing, sculpture, architecture, film, and photography-in the years between independence and 1980, by which time the Indian art scene had changed significantly and postcolonial discourse had begun to complicate mid-century ideas of nationalism.Through close analyses of specific objects of art and design, Brown describes how Indian artists engaged with questions of authenticity, iconicity, narrative, urbanization, and science and technology. She explains how the filmmaker Satyajit Ray presented the rural Indian village as a socially complex space rather than as the idealized site of “authentic India” in his acclaimed Apu Trilogy, how the painter Bhupen Khakhar reworked Indian folk idioms and borrowed iconic images from calendar prints in his paintings of urban dwellers, and how Indian architects developed a revivalist style of bold architectural gestures anchored in India’s past as they planned the Ashok Hotel and the Vigyan Bhavan Conference Center, both in New Delhi. Discussing these and other works of art and design, Brown chronicles the mid-twentieth-century trajectory of India’s modern visual culture.

In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation.Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude KÄsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.

In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation.Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude KÄsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.

A young couple poses before a painted backdrop depicting a modern building set in a volcanic landscape; a college student grabs his camera as he heads to a political demonstration; a man poses stiffly for his identity photograph; amateur photographers look for picturesque images in a rural village; an old woman leafs through a family album. In Refracted Visions, Karen Strassler argues that popular photographic practices such as these have played a crucial role in the making of modern national subjects in postcolonial Java. Contending that photographic genres cultivate distinctive ways of seeing and positioning oneself and others within the affective, ideological, and temporal location of Indonesia, she examines genres ranging from state identification photos to pictures documenting family rituals.Oriented to projects of selfhood, memory, and social affiliation, popular photographs recast national iconographies in an intimate register. They convey the longings of Indonesian national modernity: nostalgia for rural idylls and “tradition,” desires for the trappings of modernity and affluence, dreams of historical agency, and hopes for political authenticity. Yet photography also brings people into contact with ideas and images that transcend and at times undermine a strictly national frame. Photography’s primary practitioners in the postcolonial era have been Chinese Indonesians. Acting as cultural brokers who translate global and colonial imageries into national idioms, these members of a transnational minority have helped shape the visual contours of Indonesian belonging even as their own place within the nation remains tenuous. Refracted Visions illuminates the ways that everyday photographic practices generate visual habits that in turn give rise to political subjects and communities.

A young couple poses before a painted backdrop depicting a modern building set in a volcanic landscape; a college student grabs his camera as he heads to a political demonstration; a man poses stiffly for his identity photograph; amateur photographers look for picturesque images in a rural village; an old woman leafs through a family album. In Refracted Visions, Karen Strassler argues that popular photographic practices such as these have played a crucial role in the making of modern national subjects in postcolonial Java. Contending that photographic genres cultivate distinctive ways of seeing and positioning oneself and others within the affective, ideological, and temporal location of Indonesia, she examines genres ranging from state identification photos to pictures documenting family rituals.Oriented to projects of selfhood, memory, and social affiliation, popular photographs recast national iconographies in an intimate register. They convey the longings of Indonesian national modernity: nostalgia for rural idylls and “tradition,” desires for the trappings of modernity and affluence, dreams of historical agency, and hopes for political authenticity. Yet photography also brings people into contact with ideas and images that transcend and at times undermine a strictly national frame. Photography’s primary practitioners in the postcolonial era have been Chinese Indonesians. Acting as cultural brokers who translate global and colonial imageries into national idioms, these members of a transnational minority have helped shape the visual contours of Indonesian belonging even as their own place within the nation remains tenuous. Refracted Visions illuminates the ways that everyday photographic practices generate visual habits that in turn give rise to political subjects and communities.

In the late nineteenth century and early twentieth, hundreds of amateur photographers took part in the photographic survey movement in England. They sought to record the material remains of the English past so that it might be preserved for future generations. In The Camera as Historian, the groundbreaking historical and visual anthropologist Elizabeth Edwards works with an archive of nearly 55,000 photographs taken by 1,000 photographers, mostly unknown until now. She approaches the survey movement and its social and material practices ethnographically. Considering how the amateur photographers understood the value of their project, Edwards links the surveys to concepts of leisure, understandings of the local and the national, and the rise of popular photography. Her examination of how the photographers negotiated between scientific objectivity and aesthetic responses to the past leads her to argue that the survey movement was as concerned with the conditions of its own modernity and the creation of an archive for an anticipated future as it was nostalgic about the imagined past. Including more than 120 vibrant images, The Camera as Historian offers new perspectives on the forces that shaped Victorian and Edwardian Britain, as well as on contemporary debates about cultural identity, nationality, empire, material practices, and art.

From a Nation Torn provides a powerful critique of art history's understanding of French modernism and the historical circumstances that shaped its production and reception. Within art history, the aesthetic practices and theories that emerged in France from the late 1940s into the 1960s are demarcated as postwar. Yet it was during these very decades that France fought a protracted series of wars to maintain its far-flung colonial empire. Given that French modernism was created during, rather than after, war, Hannah Feldman argues that its interpretation must incorporate the tumultuous "decades of decolonization"and their profound influence on visual and public culture. Focusing on the Algerian War of Independence (1954–1962) and the historical continuities it presented with the experience of the Second World War, Feldman highlights decolonization's formative effects on art and related theories of representation, both political and aesthetic. Ultimately, From a Nation Torn constitutes a profound exploration of how certain populations and events are rendered invisible and their omission naturalized within histories of modernity.

From a Nation Torn provides a powerful critique of art history's understanding of French modernism and the historical circumstances that shaped its production and reception. Within art history, the aesthetic practices and theories that emerged in France from the late 1940s into the 1960s are demarcated as postwar. Yet it was during these very decades that France fought a protracted series of wars to maintain its far-flung colonial empire. Given that French modernism was created during, rather than after, war, Hannah Feldman argues that its interpretation must incorporate the tumultuous "decades of decolonization"and their profound influence on visual and public culture. Focusing on the Algerian War of Independence (1954–1962) and the historical continuities it presented with the experience of the Second World War, Feldman highlights decolonization's formative effects on art and related theories of representation, both political and aesthetic. Ultimately, From a Nation Torn constitutes a profound exploration of how certain populations and events are rendered invisible and their omission naturalized within histories of modernity.

What happens when ritual practitioners from a small Pacific nation make an intellectual property claim to bungee jumping? When a German company successfully sues to defend its trademark of a Māori name? Or when UNESCO deems ephemeral sand drawings to be "intangible cultural heritage"? In Treasured Possessions, Haidy Geismar examines how global forms of cultural and intellectual property are being redefined by everyday people and policymakers in two markedly different Pacific nations. The New Hebrides, a small archipelago in Melanesia managed jointly by Britain and France until 1980, is now the independent nation-state of Vanuatu, with a population that is more than 95 percent indigenous. New Zealand, by contrast, is a settler state and former British colony that engages with its entangled Polynesian and British heritage through an ethos of "biculturalism" that is meant to involve an indigenous population of just 15 percent. Alternative notions of property, resources, and heritage-informed by distinct national histories-are emerging in both countries. These property claims are advanced in national and international settings, but they emanate from specific communities and cultural landscapes, and they are grounded in an awareness of ancestral power and inheritance. They reveal intellectual and cultural property to be not only legal constructs but also powerful ways of asserting indigenous identities and sovereignties.

What happens when ritual practitioners from a small Pacific nation make an intellectual property claim to bungee jumping? When a German company successfully sues to defend its trademark of a Māori name? Or when UNESCO deems ephemeral sand drawings to be "intangible cultural heritage"? In Treasured Possessions, Haidy Geismar examines how global forms of cultural and intellectual property are being redefined by everyday people and policymakers in two markedly different Pacific nations. The New Hebrides, a small archipelago in Melanesia managed jointly by Britain and France until 1980, is now the independent nation-state of Vanuatu, with a population that is more than 95 percent indigenous. New Zealand, by contrast, is a settler state and former British colony that engages with its entangled Polynesian and British heritage through an ethos of "biculturalism" that is meant to involve an indigenous population of just 15 percent. Alternative notions of property, resources, and heritage-informed by distinct national histories-are emerging in both countries. These property claims are advanced in national and international settings, but they emanate from specific communities and cultural landscapes, and they are grounded in an awareness of ancestral power and inheritance. They reveal intellectual and cultural property to be not only legal constructs but also powerful ways of asserting indigenous identities and sovereignties.

Empires of Vision brings together pieces by some of the most influential scholars working at the intersection of visual culture studies and the history of European imperialism. The essays and excerpts focus on the paintings, maps, geographical surveys, postcards, photographs, and other media that comprise the visual milieu of colonization, struggles for decolonization, and the lingering effects of empire. Taken together, they demonstrate that an appreciation of the role of visual experience is necessary for understanding the functioning of hegemonic imperial power and the ways that the colonized subjects spoke, and looked, back at their imperial rulers. Empires of Vision also makes a vital point about the complexity of image culture in the modern world: We must comprehend how regimes of visuality emerged globally, not only in the metropole but also in relation to the putative margins of a world that increasingly came to question the very distinction between center and periphery.Contributors. Jordanna Bailkin, Roger Benjamin, Daniela Bleichmar, Zeynep Çelik, David Ciarlo, Natasha Eaton, Simon Gikandi, Serge Gruzinski, James L. Hevia, Martin Jay, Brian Larkin, Olu Oguibe, Ricardo PadrÓn, Christopher Pinney, Sumathi Ramaswamy, Benjamin Schmidt, Terry Smith, Robert Stam, Eric A. Stein, Nicholas Thomas, Krista A. Thompson

Empires of Vision brings together pieces by some of the most influential scholars working at the intersection of visual culture studies and the history of European imperialism. The essays and excerpts focus on the paintings, maps, geographical surveys, postcards, photographs, and other media that comprise the visual milieu of colonization, struggles for decolonization, and the lingering effects of empire. Taken together, they demonstrate that an appreciation of the role of visual experience is necessary for understanding the functioning of hegemonic imperial power and the ways that the colonized subjects spoke, and looked, back at their imperial rulers. Empires of Vision also makes a vital point about the complexity of image culture in the modern world: We must comprehend how regimes of visuality emerged globally, not only in the metropole but also in relation to the putative margins of a world that increasingly came to question the very distinction between center and periphery.Contributors. Jordanna Bailkin, Roger Benjamin, Daniela Bleichmar, Zeynep Çelik, David Ciarlo, Natasha Eaton, Simon Gikandi, Serge Gruzinski, James L. Hevia, Martin Jay, Brian Larkin, Olu Oguibe, Ricardo PadrÓn, Christopher Pinney, Sumathi Ramaswamy, Benjamin Schmidt, Terry Smith, Robert Stam, Eric A. Stein, Nicholas Thomas, Krista A. Thompson

In Mimesis Across Empires, Natasha Eaton examines the interactions, attachments, and crossings between the visual cultures of the Mughal and British Empires during the formative period of British imperial rule in India. Eaton explores how the aesthetics of Mughal "vernacular" art and British "realist" art mutually informed one another to create a hybrid visual economy. By tracing the exchange of objects and ideas-between Mughal artists and British collectors, British artists and Indian subjects, and Indian elites and British artists-she shows how Mughal artists influenced British conceptions of their art, their empire, and themselves, even as European art gave Indian painters a new visual vocabulary with which to critique colonial politics and aesthetics. By placing her analysis of visual culture in relation to other cultural encounters-ethnographic, legislative, diplomatic-Eaton uncovers deeper intimacies and hostilities between the colonizer and the colonized, linking artistic mimesis to the larger colonial project in India.

In Mimesis Across Empires, Natasha Eaton examines the interactions, attachments, and crossings between the visual cultures of the Mughal and British Empires during the formative period of British imperial rule in India. Eaton explores how the aesthetics of Mughal "vernacular" art and British "realist" art mutually informed one another to create a hybrid visual economy. By tracing the exchange of objects and ideas-between Mughal artists and British collectors, British artists and Indian subjects, and Indian elites and British artists-she shows how Mughal artists influenced British conceptions of their art, their empire, and themselves, even as European art gave Indian painters a new visual vocabulary with which to critique colonial politics and aesthetics. By placing her analysis of visual culture in relation to other cultural encounters-ethnographic, legislative, diplomatic-Eaton uncovers deeper intimacies and hostilities between the colonizer and the colonized, linking artistic mimesis to the larger colonial project in India.

The Echo of Things is a compelling ethnographic study of what photography means to the people of Roviana Lagoon in the western Solomon Islands. Christopher Wright examines the contemporary uses of photography and expectations of the medium in Roviana, as well as people's reactions to photographs made by colonial powers in the late nineteenth and early twentieth centuries. For Roviana people, photographs are unique objects; they are not reproducible, as they are in Euro-American understandings of the medium. Their status as singular objects contributes to their ability to channel ancestral power, and that ability is a key to understanding the links between photography, memory, and history in Roviana. Filled with the voices of Roviana people, The Echo of Things is both a nuanced study of the lives of photographs in a particular cultural setting and a provocative inquiry into our own understandings of photography.