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Anne Ring Petersen

the traditional narratives and order of the objects held and displayed in Western museums, and of questioning accepted understandings of history and systems of classification. Can they also help us envision a more inclusive and critically interrogative ‘postcolonial’ museum that is tuned to the societal conditions and historical changes resulting from intensified migration? Postcoloniality and decoloniality In recent years, an agonistic discourse on ‘decolonial thinking’ and ‘decolonial aesthetics’ has emerged from the broader field of postcolonial studies 119

in Migration into art
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Unruly photography
Ronnie Close

read bodies of visual materials produced and seen inside Egypt. The book opens with examining decoloniality theory as a lens to consider Egypt's legacies of colonialism and what may be the distinct qualities of its local photographic culture. Decolonizing images explores the nineteenth-century encounter between its own cultural traditions and Western-led modernity through photographic technologies of the time, taking place during the rapid colonial expansion across the Arabic-speaking region. From this starting point in history the book looks outwards to examine

in Decolonizing images
T. J. Demos

emphasises, then, the connection between climate emergency and colonial environments of economic inequality, endless wars and militarisation, white supremacy, and anti-migrant politics. This broader nexus of concerns has inspired other late 2010s protests against arts institutions, which have in some ways expanded on the movement to liberate museums from fossil-fuel funding with a decolonial approach. For instance, consider recent actions against cultural philanthropists such as the arms manufacturer Warren B. Kanders, and the

in Art and knowledge after 1900
Ronnie Close

. This contrasts with the modernist artist as exile in Western cultures where the artist is often estranged from broader forces. The photographic artists in this chapter consist of a generation who have been impacted by such local traditions alongside the transformational potential of the 2011 uprising. In this way, their practices embody the separation of self in a complex discourse on belonging, representation, identity and decolonial aesthetics. The photography projects explored include the work of two unique contemporary image-makers indicative

in Decolonizing images
Abstract only
Maria Taroutina

, LA, December 3, 2021; Association of Art History (AAH) Resource Portal on Anti-Racism and Decolonial Approaches to Art History and Visual Culture, . 9 Said, Orientalism , 17, 26. 10 Aleksei Kurbanovskii, “Orientalizm: narodnost’ kak ‘ekzotika’ (na poliakh Edvarda Saida),” Iskusstvoznanie , no. 1–2 (2011): 79–115 ; Kirill

in Russian Orientalism in a global context
Sensual luxury, primitivism and the French bourgeois interior
John Potvin

. W. Monroe, Metropolitan Fetish: African Sculpture and the Imperial French Invention of Primitive Art (Ithaca, NY: Cornell University Press, 2019). 4 S. Lemke, Primitivist Modernism: Black Culture and the Origins of Black Transatlantic Modernism (Oxford: Oxford University Press, 1998), p. 9. 5 D. Onafuwa, ‘Allies and Decoloniality: A Review of the Intersectional Perspectives on Design, Politics, and Power Symposium’, Design and Culture

in The senses in interior design
Christopher T. Green

, A. , R. Bell , W. Nanibush , and C. Iles ( 2019 ) ‘ Contemporary Indigenous Art in a Global Context ’, 26 October. . Accessed 19 April 2020. Mignolo , W.D. ( 2007 ) ‘ Delinking: The Rhetoric of Modenity, the Logic of Coloniality and the Grammer of De-coloniality ’, Cultural Studies , 21 : 2 –3, 449–514 . Miles , J.D. ( 2011 ) ‘ The Postindian Rhetoric of Gerald Vizenor ’, College Composition and Communication , 63 : 1 , 35–53 . Mitchell , W.J.T. ( 1992 ) ‘ Postcolonial Culture, Postimperial

in Art and migration
Christian Kravagna

. This abrupt change of heart from conventional Eurocentrism to the new globalism can be observed as a tendency particularly (but not exclusively) in German-speaking countries, where the postcolonial challenges facing art history were largely ignored in the 1980s and 1990s. This sudden pivot to the paradigms of the global or the transcultural – without any political foundation in post- or decolonial approaches – brings with it problems that will be addressed in the following pages. Rhetoric of the global

in Transmodern
The global exposition and the museum
Jane Chin Davidson

basis of an authentic Chinese identity has been put into question, which is the very premise of this book’s examination. As illustrated by the history of China’s biennial/triennials, art expositions since the 1990s have played a part in the country’s globalization processes. My own engagement in this debate looks to decolonial practices for reconciling the ideologies of the colonial and the postcolonial through this study The archive of Chineseness of museums and global expositions, especially the inaugural representations of China, Hong Kong, and Taiwan at the

in Staging art and Chineseness
Ronnie Close

aftermath of the 2011 uprising and continues to produce and exhibit work within Egypt that examines cultural representation, identity and photographic cultures. Such work can be seen as indicative of an indigenous reimagining of the photograph in Egypt based on decolonial aesthetics that mediates between Western and local cultural traditions. The move to include art photography projects in this final chapter is a pertinent one because it enables a reflection on themes, historical phases, theories addressed in earlier chapters of the book. This involves decoloniality

in Decolonizing images