Nancy Jones

ARH6930: Art & Global Diversity, Fall 2014

Critical Issues in Art + Global Diversity
Dr. Pamela Brekka
December 14th, 2014
Annotated Bibliography
Appiah, Kwame Anthony. Is the Post- in Postmodernism in the Post- in Postcolonial? Critical
Inquiry 17, no. 2 (1991): 336-357.
Kwame Anthony Appiah is a philosopher and cultural theorist who has a lot of focus on
Africa and African Americans. Appiah uses this article to present and argue about the post
terms of postmodernism and postcolonial in regards to African Art. This article is helpful in
defining how the terms of postmodernism and postcolonial relate to African art.
Barber, Charles. The Truth in Painting: Iconoclasm and Identity in Early-Medieval Art.
Speculum 72, no. 4 (1997): 1019-1036.
Charles Barber is a professor of medieval art and Byzantine studies at the University of
Notre Dame. In this article, Barber addresses reasons behind iconoclasm within the Jewish
culture and the cultural attitudes toward religious art. Iconoclasm is an issue in global art
because of the destruction of historical artworks.
Belting, Hans. Contemporary Art as Global Art: A Critical Estimate. (2009).
Hans Belting is an art historian from Germany. Although English is not his first language,
Belting does a nice job of pointing out issues and criticisms within contemporary and global
art. This article defines the differences between the terms contemporary art and global art
and how those terms affect the art history world.
Branham, Joan R. Sacrality and Aura in the Museum: Mute Objects and Articulate Space. The
Journal of the Walters Art Gallery 52/53, (1994/1995): 33-47.
Joan Branham is a professor of art history at Providence College and has a special interest in
Judaism and Christianity iconography. Branham discusses sacred space and aura within the
museum. The religious art can become stripped of any sacredness from the original site, but
there is also the ability of the museum to attempt to honor the sacredness by reconstructing
the original setting. There are issues with both options and this will continue to be an issue
for museums in any country.
Branham, Joan R. Sacred Space under Erasure in Ancient Synagogues and Early Churches. Art
Bulletin 74, no. 3 (1992): 375-394.
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 Branham examines synagogues and churchs iconography with specific focus on chancel
screens. The chancel screens are similar in function for both the Jewish and Christian places
of worship. This article also addresses rituals and how they have changed with the change of
location from the Temple in Jerusalem to the synagogue.
Briggs, Charles. The Politics of Discursive Authority in Research on the Invention of
Tradition. Cultural Anthropology 11, no. 4 (1996): 435-469.
Charles Briggs is an anthropology professor at the University of California in Berkley.
Briggs brings up the emotional subject of traditions. Briggs looks at the native american
traditions and what research has said about the historical invention of the traditions. The
cultural relevance pertains to Briggs point that different cultures will approach traditions
with a different point of view.
Brilliant, Richard. Out of Site, Out of Mind. Art Bulletin 74, no. 4 (1992): 551.
Richard Brilliant is a Professor Emeritus of Art History and Archaeology at Columbia
University. Brilliants article takes notice of how modern artwork created for exhibition is
displayed versus ancient artworks taken from their site to the museum. This relates to
Branhams work on the sacredness of an object and the aura in a museum.
Cruikshank, Julie. Oral Tradition and Material Culture: Multiplying Meanings of Words and
Things. Anthropology Today 8, no. 3 (1992): 5-9.
Julie Cruikshank is a Professor Emerita at the University of British Columbia in the
Department of Anthropology. She analyses the oral traditions of words to the materical
culture of things. Her focus is on the indigenous people of Canada and the debate of
cultural property and representing culture.
Dean, Carolyn. The Trouble with (the Term) Art. Art Journal 65, no. 2 (2006): 24-32.
Carolyn Dean is a professor of art history and culture at the University of California in Santa
Cruz. In this article, Dean argues about the term art and how it is used to describe ancient
artifacts. She points to how artifacts from cultures are termed as art, but their original use
was not as art. The article brings up a critical issue for art in that there should be a more
clarified definition for the term art in order to distinguish between true artifacts and art.

Elkins, James. Real Spaces: World Art History and the Rise of Western Modernism by David
Summers. Art Bulletin 86, no. 2 (2004): 373-381.
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 James Elkins is the Chair of art history at the School of Art Institute of Chicago. Elkins
reviews David Summers book Real Spaces. Summers book is an attempt to break away
from the linear version of an art history survey. Elkins brings up the issues of world art
history and how this book relates to those issues. Culturally, this relates to the issues of
representing and including the Other within the art history survey.
Errington, Shelly. What Became Authentic Primitive Art? Cultural Anthropology 9, no. 2
(1994): 201-226.
Shelly Errington is a professor of Anthropology at the University of California in Santa Cruz.
Similar to Carolyn Deans article about the term art, Errington brings up the terms
authentic, primitive, and art. She also brings up art by intention versus art by
appropriation and the difference between the two in relation to primitive artworks and
artifacts. Knowing the definition of authentic primitive art can help in understanding various
cultures and the artifacts of those cultures.
Flood, Finbarr Barry. Between Cult and Culture: Bamiyan, Islamic Iconoclasm, and the
Museum. The Art Bulletin, 84, no. 4 (2002): 641-659.
Finbarr Barry Flood is a professor at the New York University Institute of Fine Arts and has a
PhD in Islamic Art History. Floods article focuses on Islamic iconoclasm and the Bamiyan
Buddahs destroyed by the Taliban. He observes the history of iconoclasm within the culture
and how it could affect more works of art. It is important to know how a culture will respond
to specific images to work with that culture.
Freed, James Ingo. The United States Holocaust Memorial Museum. Assemblage no. 9 (1989):
58-79.
James Ingo Freed was an architect and a partner of I.M Pei and Partners, the designers of the
Holocaust Memorial Museum. In this collection of interview statements, Freed explains the
reasoning behind the architectural decisions regarding the placement, exterior and interior o
the museum. Freed and the designers had a difficult task of designing a place that would be
emotional and not degrade or make light of the Holocaust. I found this article to be a great
demonstration of representing a difficult section of history of another culture and explaining
how they managed to be successful in their task.

Gable, Eric and Richard Handler. After Authenticity at an American Heritage Site. American
Anthropologist 98, no. 3 (1996): 568-578.

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 Eric Gable is a professor of anthropology at the University of Mary Washington, and Richard
Handler is a professor of anthropology at the University of Virginia. Gable and Handler take
a look at what happens in Colonial Williamsburg, a site dedicated to an authentic rebuild.
The critical issue is how far historians must go to make the site truly authentic.
Gill, Chris. Beijing Plans Major Museum. Art Newspaper 17, no. 22 (2008): 22.
Chris Gill lives in Shanghi, China and circulates within the Chinese art scene, and Gill is a
writer for the Art Newspaper. His article about Beijings museum plans shows how China is
striving to have a more Western art scene. The Chinese government wants more collectors
and more modern and contemporary art from China and from around the world. This opens
China up to more collectors and more cooperation with museums.
Graham, Mark Miller. The Future of Art History and the Undoing of the Survey. Art Journal
54, no. 3 (1995): 30-34.
Mark Miller Graham is an associate professor of art history at Auburn University. Grahams
article dissects the Art History Survey and how it currently structured by canonicity,
chronology, closure, and subjectivity. He brings up ways to reform or replace the current art
history survey to bring the survey up to current art history standards. One of the things that
should be considered is the inclusion of the Other.
Hallam, Elizabeth and Brian Street. Introduction: Cultural encounters - representing
otherness. In Cultural Encounters, 1-10. London: Routledge, 2000.
Elizabeth Hallam is a Research Assistant at the University of Oxford and Brian Street is a
Professor Emeritus of language at Kings College in London. The introduction to the book
Cultural Encounters introduces otherness. Hallam and Street give the reader an idea of
what othering is and how visual media and museums represent cultures that they may not
understand.
Hallam, Elizabeth. Texts, Objects, and otherness: Problems of historical process in writing and
displaying cultures. In Cultural Encounters, 261-283. London: Routledge, 2000.
Elizabeth Hallam writes a chapter within Cultural Encounters that looks into how texts and
objects are in relation to each other in museums and fields of research. She focuses on how
anthropology is representing cultures both visually and in written forms. This is critical to art
because museum displays and written text need to be accurate toward other cultures.
Holquist, Michael. Stereotyping in Autobiography and Historiography: Colonialism in The
Great Gatsby. Poetics Today 9, no. 2 (1988): 453-472.
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 Michael Holquist is a retired professor who spent most of his career at Yale University. The
book The Great Gatsby is the focus example of his paper. He discusses how to rethink
otherness in an oppositional situation. The paper is significant because of the look at
otherness within fiction literature.
Honan, William. Say Goodbye to the Stuffed Elephants. New York Times (New York, NY), Jan.
14 1990.
William Honan was a journalist with the New York Times that covered the arts. In this
article, the Field Museum of Natural History in Chicago is renovating the museum and
getting ready to open an exhibit titled Traveling the Pacific. The museum had tension rise
when the curators disagreed with exhibition designers in the transformation of the exhibits.
The museum wanted more context with the artifacts to give a more accurate aura.
Karp, Ivan and Corinne A. Kratz. Reflections on the fate of Tippoos Tiger: defining cultures
through public display. In Cultural Encounters, edited by Elizabeth Hallam and
Brian
Street, 194-228. London: Routledge, 2000.
Ivan Karp was an art dealer and owner of a New York gallery, and Corinne A. Kratz is a
Professor Emerita at Emory College in the Department of Anthropology. The article
discusses the museums invention of self and other in displays. The museum brings an
exoticism to the exhibit that exaggerates the differences of the opposing objects.
Karp, Ivan and Corinne A. Kratz. Wonder and Worth: Disney Museums in World Showcase.
Museum Anthropology 17, no. 3 (1993): 32-42.
Ivan Karp and Corinne Kratz look at the museums within Epcot theme park at Walt Disney
World in comparison to more academic museums. The World Showcase in Epcot features
eleven different countries and five galleries. While it is a theme park, the galleries have some
artifacts and artwork on loan from the Smithsonians National Museum of Natural History
and the Fowler Museum. This article is included because the representations of various
cultures by an entertainment entity should be considered in global diversity.
Karp, Ivan. How Museums Define Other Cultures. American Art 5, no. 1/2 (1991): 10-15.
This is another article about how museums create an imaginary Other. Karp suggests that
museums create the culture of the Other by either exoticising or by assimilating. Either way,
the Other still comes off as lacking in comparison to modern man.
Kasfir, Sidney Littlefield. African Art and Authenticity: A Text with a Shadow. African Arts
25, no. 2 (1992): 40-53, 96-97.

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 Sidney Littlefield Kasfir is Professor Emerita at Emory University in the Art History
Department. Kasfir examines the exhibits between Third World and First World which is an
attempt to compare the African and other to Western culture. Authenticity within the museum
is key to representing another culture.
Loshitzky, Yosefa. Orientalist representations: Palestinians and Arabs in some postcolonial film
and literature. In Cultural Encounters, edited by Elizabeth Hallam and Brian Street,
51-71. London: Routledge, 2000.
Yosefa Loshitzky is a Professorial Research Associate at the University of London. In her
article, Loshitzky discusses representations of Middle Eastern cultures in film and literature.
She also discusses the woman as Other as they are represented as weak minded. Loshitzky
gives examples of inventing the other and how the film and literature sector has decided to
represent the other.
Marcus, Julie. Towards an erotics of the museum. In Cultural Encounters, edited by Elizabeth
Hallam and Brian Street, 229-244. London: Routledge, 2000.
Julie Marcus was a curator at the National Museum of Australia. Marcus discusses the
museum and what makes a display interesting. Marcus also addresses cultural fragmentation
within displays and focuses on the Museum of Sydney and the Aboriginal people. The article
is a great example of how museums can leave out cultures and diversity.
McElheny, Josiah. 1000 Words: An End to Modernity and Conceptual Drawings For a
Chandelier. Artforum 44, no. 3 (2005): 236-237.
Josiah McElheny is an artist in New York. This short article is about the connection of a
modernist chandelier with the nineteenth-century styled Metropolitan Opera. The artwork by
McElheny is a chandelier based on the actual science behind the Big Bang Theory. The
chandelier design originated in 1965 by J & L Lobmeyr, a glass company in central Europe.
Mitter, Partha. Decentering Modernism: Art History and Avant-Garde Art from the Periphery.
Art Bulletin 90, no. 4 (2008): 531-548.
Partha Mitter is a writer and art historian specializing in Indian art in the west. Mitters article
focuses on rewriting the current art history to include the periphery. Mitter proposes to
include contemporary art from around the world and truly question and debate old ideas and
replace them within the canon.
Mukherji, Parul Dave. Whither Art History in a Globalizing World. The Art Bulletin 96, no. 2
(2014): 151-155.

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 Parul Dave Mukherji is a professor at Jawaharlal Nehru University in New Delhi, India in
the School of Arts and Aesthetics. Mukherji wants the art history world to begin looking out
from the art surveys of Greece and Roman and to be looking at the globalized world. Similar
to Mitters article, Mukherji invites art history to go beyond the canon of tradition and look at
the outlying cultures.
Nylander, Carl. Earless in Nineveh: Who Mutilated Sargons Head? American Journal of
Archaeology 84, no. 3 (1980): 329-333.
Carl Nylander is a Swedish archaeologist. In this article, Nylander discusses the damage that
occurred to the Sargons Head. He brings up the possibility of political or religious
iconoclasm. Culturally, the article observes the middle east complicated history and how it
could affect what actually happened to the copper head.
Osborne, Peter. Art Beyond Aesthetics: Philosophical Criticism, Art History and Contemporary
Art. Art History 27, no. 4 (2004): 651-670.

Risatti, Howard. The Museum Shows of Force: Power, Politics, and Ideology in Art Exhibitions
by Timothy W. Luke; Exhibiting Cultures: The Poetics and Politics of Museum Display
by Ivan Karp; Steven D. Lavine; Making and Effacing Art: Modern American Art
in a
Culture of Museums by Philip Fisher. Art Journal 51, no. 4 (1992): 103-106.

Rosaldo, Renato. Imperialist Nostalgia. Representations 26 (1989): 107-122.

Schwarzer, Mitchell. Origins of the Art History Survey Text. Art Journal 54, no. 3 (1995):
24-29.

Siegel, Katy. Art since 1940: Strategies of Being by Jonathan Fineberg; Abstraction in the
Twentieth Century: Total Risk, Freedom, Discipline by Mark Rosenthal; Theories
and
Documents of Contemporary Art: A Sourcebook of Artists Writings by Kristine
Stiles;
Peter Selz. Art Bulletin 79, no. 1 (1997): 164-169.

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Smith, Terry. The State of Art History: Contemporary Art. The Art Bulletin, 92, no. 4 (2010):
366-383.

Winegar, Jessica. Cultural Sovereignty in a Global Art Economy: Egyptian Cultural Policy and
the New Western Interest in Art from the Middle East. Cultural Anthropology 21,
no. 2
(2006): 173-204.

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