{"product_id":"modern-art-in-africa-asia-and-latin-america-isbn-9781444332292","title":"Modern Art in Africa, Asia and Latin America","description":"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.  \u003cbr\u003e \u003cbr\u003e   \u003cul\u003e \u003cli\u003eProvides a much-needed corrective to the Eurocentric historiography of modern art, offering a more worldly and expanded view than any existing modern art survey\u003c\/li\u003e \u003cli\u003eBrings together a selection of major essays and historical documents from a wide range of sources\u003c\/li\u003e \u003cli\u003eSection introductions, critical essays, and documents provide the relevant contextual and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\u003c\/li\u003e \u003cli\u003eOffers a useful tool for students and scholars with little or no prior knowledge of non-Western modernisms\u003c\/li\u003e \u003cli\u003eIncludes many contrasting voices in its documents and essays, encouraging reader response and lively classroom discussion\u003c\/li\u003e \u003cli\u003eIncludes a selection of major essays and historical documents addressing not only painting and sculpture but photography, film and architecture as well.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eList of Figures viii\u003c\/p\u003e \u003cp\u003eAcknowledgments xi\u003c\/p\u003e \u003cp\u003e\u003cb\u003eGeneral Introduction: The Location of Modern Art 1\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eElaine O’Brien\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I African Modern Art 15\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction: African Modern Art: An Ongoing Project 17\u003cbr\u003e \u003ci\u003eEverlyn Nicodemus\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e1 Modern African Art 26\u003cbr\u003e \u003ci\u003eChika Okeke\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2 From Country to City: The Development of an Urban Art 39\u003cbr\u003e \u003ci\u003eSteven Sack\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3 Nomfanekiso Who Paints at Night: The Art of Gladys Mgudlandlu 45\u003cbr\u003e \u003ci\u003eElza Miles\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4 Negritude, Pan-Africanism, and Postcolonial African Identity: African Portrait Photography 49\u003cbr\u003e \u003ci\u003eOkwui Enwezor and Octavio Zaya\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5 A Critical Presence: Drum Magazine in Context 58\u003cbr\u003e \u003ci\u003eOkwui Enwezor\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6 Art of the African Diaspora 63\u003cbr\u003e \u003ci\u003eMichael D. Harris\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7 Chorale: Man, Society, and Technology: An Experiment in Rural Egypt 73\u003cbr\u003e \u003ci\u003eHassan Fathy\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8 Oral Tradition and the Aesthetics of Black African Cinema 79\u003cbr\u003e \u003ci\u003eNwachukwu Frank Ukadike\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e9 On National Culture 87\u003cbr\u003e \u003ci\u003eFrantz Fanon\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10 Discourse on Colonialism 89\u003cbr\u003e \u003ci\u003eAimé Césaire\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11 Natural Synthesis 91\u003cbr\u003e \u003ci\u003eUche Okeke\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12 A Historic Confrontation between Jean Rouch and Ousmane Sembène in 1965: “You Look at Us as if We Were Insects” 94\u003cbr\u003e \u003ci\u003eJean Rouch and Ousmane Sembène\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Asian Modern Art: India, Japan, China 99\u003cbr\u003e \u003c\/b\u003eIntroduction: Asian Modern Art: A Case of Alternative, Parallel, and Intersecting Modernisms 101\u003cbr\u003e \u003ci\u003eMelissa Chiu and Benjamin Genocchio\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13 Multiculturalism\/Multimodernism 106\u003cbr\u003e \u003ci\u003eJim Supangkat\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e14 Negotiating Modernities: Encounters with Cubism in Asian Art 120\u003cbr\u003e \u003ci\u003eAhmad Mashadi\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSection 1 India 129\u003cbr\u003e \u003c\/b\u003e15 When Was Modernism in Indian Art? 129\u003cbr\u003e \u003ci\u003eGeeta Kapur\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16 The Formalist Prelude 138\u003cbr\u003e \u003ci\u003ePartha Mitter\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17 E. B. Havell and Rabindranath Tagore: Nationalism, Modernity and Art 150\u003cbr\u003e \u003ci\u003eOsman Jamal\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e18 Art and Tradition 160\u003cbr\u003e \u003ci\u003eRabindranath Tagore\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSection 2 Japan 165\u003cbr\u003e \u003c\/b\u003e19 Western Style Painting in Japan: Mimesis, Individualism, and Japanese Nationhood 165\u003cbr\u003e \u003ci\u003eGennifer Weisenfeld\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20 Artistic Subjectivity in the Taishō and Early Shōwa Avant-Garde 181\u003cbr\u003e \u003ci\u003eJohn Clark\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e21 The Age of Modernism: From Visualization to Socialization 193\u003cbr\u003e \u003ci\u003eJoe Takeba\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22 The Architectural Profession in Japan, 1850–1930 209\u003cbr\u003e \u003ci\u003eJonathan M. Reynolds\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e23 Dangen wa Dadaisuto 228\u003cbr\u003e \u003ci\u003eTakahashi Shinkichi\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSection 3 China 231\u003cbr\u003e \u003c\/b\u003e24 Sketch Conceptualism as Modernist Contingency 231\u003cbr\u003e \u003ci\u003eEugene Y. Wang\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e25 Post-Impressionists in Pre-War Shanghai: The Juelanshe (Storm Society) and the Fate of Modernism in Republican China 254\u003cbr\u003e \u003ci\u003eRalph Croizier\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e26 Films and Shanghai 272\u003cbr\u003e \u003ci\u003eZheng Dongtian\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e27 The Storm Society Manifesto (October 1932) 279\u003cbr\u003e \u003ci\u003eNi Yide, Pang Xunqin , et al.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Latin American Modern Art 281\u003cbr\u003e \u003c\/b\u003eIntroduction: Modernism in Latin America: Strategic Vanguards 283\u003cbr\u003e \u003ci\u003eMary K. Coffey and Roberto Tejada\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e28 Our America and the West 292\u003cbr\u003e \u003ci\u003eRoberto Fernández Retamar\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e29 Strategies of Modernity in Latin America 302\u003cbr\u003e \u003ci\u003eAndrea Giunta\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e30 Revolution as Ritual: Diego Rivera’s National Palace Mural 315\u003cbr\u003e \u003ci\u003eLeonard Folgarait\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e31 Africa in the Art of Latin America 330\u003cbr\u003e \u003ci\u003eGerardo Mosquera\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e32 Vital Structures: The Constructive Nexus in South America 339\u003cbr\u003e \u003ci\u003eMari Carmen Ramírez\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e33 Landscape: Errant Modernist Aesthetics in Brazil 353\u003cbr\u003e \u003ci\u003eEsther Gabara\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e34 The Spirit of Brasília: Modernity as Experiment and Risk 362\u003cbr\u003e \u003ci\u003eJames Holston\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e35 Carmen Miranda, Grande Otelo, and the Chanchada , 1929–1949 375\u003cbr\u003e \u003ci\u003eRobert Stam\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e36 To Roosevelt 387\u003cbr\u003e \u003ci\u003eRubén Darío\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e37 Essays on Latin American Art 391\u003cbr\u003e \u003ci\u003eJoaquín Torres-García\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e38 The Cosmic Race 402\u003cbr\u003e \u003ci\u003eJosé Vasconcelos\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e39 Cannibalist Manifesto 413\u003cbr\u003e \u003ci\u003eOswald de Andrade\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e40 Brasília 424\u003cbr\u003e \u003ci\u003eClarice Lispector\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eCredits and Sources 429\u003c\/p\u003e \u003cp\u003eIndex 434 \u003c\/p\u003e  \u003cb\u003eElaine O’Brien\u003c\/b\u003e is a Professor of Modern \u0026amp; Contemporary Art at California State University, Sacramento.  \u003cp\u003e\u003cb\u003eEverlyn Nicodemus\u003c\/b\u003e is an artist and writer living and working in Edinburgh, UK, and holds a Ph.D. from Middlesex University, London.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMelissa Chiu\u003c\/b\u003e is Museum Director and Vice President, Global Art Programs, Asia Society in New York.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eBenjamin Genocchio\u003c\/b\u003e is editor in chief of \u003ci\u003eArt \u0026amp; Auction Magazine\u003c\/i\u003e, New York.  He holds a Ph.D. in art history and is the author and editor of six books.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMary K. Coffey\u003c\/b\u003e is Associate Professor of Art History at Dartmouth College.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eRoberto Tejada\u003c\/b\u003e is Distinguished Chair and Professor of Art History, Southern Methodist University.\u003c\/p\u003e  Shedding fresh light on the influence of modern art beyond the West, this timely anthology provides a much-needed corrective to the Eurocentric historiography of modern art, redefining it as a global rather than purely Western phenomenon and offering a more worldly and expanded view than any existing modern art survey. \u003cbr\u003e \u003cbr\u003e   \u003cp\u003eDivided in to three sections focusing on the geographic areas that have often been left out of conversations around modernity, the volume brings together a selection of major essays and historical documents addressing not only painting and sculpture but photography, film and architecture as well.  Section introductions, critical essays, and documents provide the relevant contextual material, link each narrative to other art histories in the book, supply essential background information, and guide the reader through the key theoretical positions and debates.\u003c\/p\u003e \u003cp\u003eBringing together narratives of modern art that have been scattered in area studies of Asian, African, and Latin American art history, the volume tells a more accurate story of the radical transformation associated with modernity worldwide and opens the subject up to cross-cultural comparison. \u003ci\u003eModern Art in Africa, Asia and Latin America\u003c\/i\u003e also addresses often-neglected topics in modern art that are especially relevant to the study of postmodernity, such as modern art in diaspora, colonial art education and institutions, and pre-histories of new media, concepts, and methods. This is a useful tool for all students and scholars of non-Western modernisms which will encourage a deeper engagement with, and understanding of, modern art as a global phenomenon.\u003c\/p\u003e  \u003cp\u003e“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.”\u003cbr\u003e - \u003ci\u003eGünter Berghaus, University of Bristol\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e“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.”\u003cbr\u003e - \u003ci\u003eJean Fisher, PhD, Professor Emeritus, Middlesex University\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\"\u003ci\u003eModern Art in Africa, Asia, and Latin America\u003c\/i\u003e remaps modern art from a global perspective. Its groundbreaking analysis engages the multiple locations and transcultural histories of modern art through critical texts that chart its development in African, Asian, and Latin American contexts. The resulting anthology defeats once and for all the usual narrative of modern art as a strictly Western European phenomenon.\"\u003cbr\u003e - \u003ci\u003eSylvester Okwunodu Ogbechie, University of California Santa Barbara\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e“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.”\u003cbr\u003e - \u003ci\u003ePartha Mitter, University of Sussex\u003c\/i\u003e\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989639807205,"sku":"NP9781444332292","price":101.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781444332292.jpg?v=1761784916","url":"https:\/\/k12savings.com\/es\/products\/modern-art-in-africa-asia-and-latin-america-isbn-9781444332292","provider":"K12savings","version":"1.0","type":"link"}