Shedding fresh light on modern art beyond the West, this text introduces readers to artists, art movements, debates and theoretical positions of the modern era that continue to shape contemporary art worldwide. Area histories of modern art are repositioned and interconnected towards a global art historiography.
- Provides a much-needed corrective to the Eurocentric historiography of modern art, offering a more worldly and expanded view than any existing modern art survey
- Brings together a selection of major essays and historical documents from a wide range of sources
- Section introductions, critical essays, and documents provide the relevant contextual and historiographical material, link the selections together, and guide the reader through the key theoretical positions and debates
- Offers a useful tool for students and scholars with little or no prior knowledge of non-Western modernisms
- Includes many contrasting voices in its documents and essays, encouraging reader response and lively classroom discussion
- Includes a selection of major essays and historical documents addressing not only painting and sculpture but photography, film and architecture as well.
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About the Author
Elaine O’Brien is a Professor of Modern & Contemporary Art at California State University, Sacramento.
Everlyn Nicodemus is an artist and writer living and working in Edinburgh, UK, and holds a Ph.D. from Middlesex University, London.
Melissa Chiu is Museum Director and Vice President, Global Art Programs, Asia Society in New York.
Benjamin Genocchio is editor in chief of Art & Auction Magazine, New York. He holds a Ph.D. in art history and is the author and editor of six books.
Mary K. Coffey is Associate Professor of Art History at Dartmouth College.
Roberto Tejada is Distinguished Chair and Professor of Art History, Southern Methodist University.
Table of Contents
List of Figures viii
General Introduction: The Location of Modern Art 1 Elaine O’Brien
Part I African Modern Art 15
Introduction: African Modern Art: An Ongoing Project 17 Everlyn Nicodemus
1 Modern African Art 26 Chika Okeke
2 From Country to City: The Development of an Urban Art 39 Steven Sack
3 Nomfanekiso Who Paints at Night: The Art of Gladys Mgudlandlu 45 Elza Miles
4 Negritude, Pan-Africanism, and Postcolonial African Identity: African Portrait Photography 49 Okwui Enwezor and Octavio Zaya
5 A Critical Presence: Drum Magazine in Context 58 Okwui Enwezor
6 Art of the African Diaspora 63 Michael D. Harris
7 Chorale: Man, Society, and Technology: An Experiment in Rural Egypt 73 Hassan Fathy
8 Oral Tradition and the Aesthetics of Black African Cinema 79 Nwachukwu Frank Ukadike
9 On National Culture 87 Frantz Fanon
10 Discourse on Colonialism 89 Aimé Césaire
11 Natural Synthesis 91 Uche Okeke
12 A Historic Confrontation between Jean Rouch and Ousmane Sembène in 1965: “You Look at Us as if We Were Insects” 94 Jean Rouch and Ousmane Sembène
Part II Asian Modern Art: India, Japan, China 99
Introduction: Asian Modern Art: A Case of Alternative, Parallel, and Intersecting Modernisms 101 Melissa Chiu and Benjamin Genocchio
13 Multiculturalism/Multimodernism 106 Jim Supangkat
14 Negotiating Modernities: Encounters with Cubism in Asian Art 120 Ahmad Mashadi
Section 1 India 129
15 When Was Modernism in Indian Art? 129 Geeta Kapur
16 The Formalist Prelude 138 Partha Mitter
17 E. B. Havell and Rabindranath Tagore: Nationalism, Modernity and Art 150 Osman Jamal
18 Art and Tradition 160 Rabindranath Tagore
Section 2 Japan 165
19 Western Style Painting in Japan: Mimesis, Individualism, and Japanese Nationhood 165 Gennifer Weisenfeld
20 Artistic Subjectivity in the Taishô and Early Shôwa Avant-Garde 181 John Clark
21 The Age of Modernism: From Visualization to Socialization 193 Joe Takeba
22 The Architectural Profession in Japan, 1850–1930 209 Jonathan M. Reynolds
23 Dangen wa Dadaisuto 228 Takahashi Shinkichi
Section 3 China 231
24 Sketch Conceptualism as Modernist Contingency 231 Eugene Y. Wang
25 Post-Impressionists in Pre-War Shanghai: The Juelanshe (Storm Society) and the Fate of Modernism in Republican China 254 Ralph Croizier
26 Films and Shanghai 272 Zheng Dongtian
27 The Storm Society Manifesto (October 1932) 279 Ni Yide, Pang Xunqin , et al.
Part III Latin American Modern Art 281
Introduction: Modernism in Latin America: Strategic Vanguards 283 Mary K. Coffey and Roberto Tejada
28 Our America and the West 292 Roberto Fernández Retamar
29 Strategies of Modernity in Latin America 302 Andrea Giunta
30 Revolution as Ritual: Diego Rivera’s National Palace Mural 315 Leonard Folgarait
31 Africa in the Art of Latin America 330 Gerardo Mosquera
32 Vital Structures: The Constructive Nexus in South America 339 Mari Carmen Ramírez
33 Landscape: Errant Modernist Aesthetics in Brazil 353 Esther Gabara
34 The Spirit of Brasília: Modernity as Experiment and Risk 362 James Holston
35 Carmen Miranda, Grande Otelo, and the Chanchada , 1929–1949 375 Robert Stam
36 To Roosevelt 387 Rubén Darío
37 Essays on Latin American Art 391 Joaquín Torres-García
38 The Cosmic Race 402 José Vasconcelos
39 Cannibalist Manifesto 413 Oswald de Andrade
40 Brasília 424 Clarice Lispector
Credits and Sources 429
What People are Saying About This
“This is a much-needed volume offering a truly global perspective on modernism, a comparative investigation of transcultural interchanges, and a revision of current notions of peripheral modernities.” - Günter Berghaus, University of Bristol
“The scholarship assembled in this volume presents a welcome and long-overdue challenge to Eurocentric histories of modernism. Charting the development of the first truly global art practices, it opens up a critical space for further research on geographies too often neglected by Western academia.” - Jean Fisher, PhD, Professor Emeritus, Middlesex University
“This ambitious, wide-ranging volume aims to challenge and correct misconceptions about non-western art that it has little to contribute to global modernism. Balanced by a judicious mixture of original sources and deeply researched, theoretically acute chapters written by internationally respected authorities, the volume will be an indispensable tool for students, scholars and all those interested in a more critical history of global modernism.” - Partha Mitter, University of Sussex