French
     
     
         

Synopsis

Invading Territories


International Chair : Oleg Grabar,
Institute of Advanced Studies, Princeton, US
Canadian Chair : Ruth B. Phillips,
Carleton University, Ottawa, CA

 

Art has a political role in relation to its site of production or dissemination even though such contingent functions are frequently denied when art is imagined to be a symbol of universality. As an instrument of power, art is variously used to justify invasion or colonization, to denounce the oppression of one people by another, or to recover and to disguise such situations of crisis. Occupation creates a traffic of works of art though spoliation, confiscation, and acquisition, as well as a circulation of artists through exile and emigration. These movements are registered within the discipline of art history as a pervasive activity of displacement.

Monia Abdallah, École des Hautes Études en Sciences Sociales (EHESS), Paris, FR
Situer « l’art contemporain islamique » – Enquête sur les usages possibles de certaines créations artistiques

Gregory Clark, University of the South, Sewanee, US
Art and Occupation: The Cases of Paris and Rouen Under English Rule (1419-1449)

Karen Duffek, Museum of Anthropology at the University of British Columbia, Vancouver, CA
Local Practice as Global Critique

Kaari Frilander, Jyväskylän Yliopisto (Université de Jyväskylä), FI
Representation of a Conquered Country: Finland in Russian Imagery 1809-1917

Judith Green, King’s College, Cambridge, GB
Between the Wars: Networks and Systems of British Collecting in China, 1860-1900

Kajri Jain, Deakin University, Melbourne, AU
Naturalism in Indian Bazaar Art: Fallacies of Hybridity and Subalternity

Caroline Jones, Massachusetts Institute of Technology, Cambridge, US
Fear

Saloni Mathur, University of California, Los Angeles, US
The Politics of Oil: History, Medium, & the Post-Colonial Imagination

Alison McQueen, Assistant Professor, McMaster University, Hamilton, CA
Empress Eugénie’s Musée Chinois at Fontainebleau

Angela Miller, Washington University in St. Louis, US
“The World Turned Upside Down”: De Bry’s Great Voyages and the “Black Legend” of the Spanish Conquest

Peter Benson Miller, Institut du monde arabe, Paris, FR
Local Color: French Art and Anthropology in Colonial Algeria 1830-1870

Ikem Stanley Okoye, University of Delaware, Newark, US
Greater Benin? A Non-Invasive Art Far from Home

Rangihiroa Panoho, University of Auckland, NZ
Letting the Trojan Horse In: The Courting of Post-modernism in Maori Art

Todd Porterfield, Université de Montréal, CA
Art in Paris Under the Occupation, 1815-1818

Moain Sadeq, The Oriental Institute, University of Chicago, US
Inter-regional Influences in Mamluk Architecture and Art

Leoni Schmidt, Otago Polytechnic School of Art, Dunedin, NZ
Migrant Drawing: Disrupted Spaces and Dispersive Notations