CIHA 2016 in Beijing
34th World Congress of Art HistoryAbout History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed
Sessions Download PDF
Session 2 The Rank of Art
Session 3 Imagination and Projection
Session 4 Appreciation and Utility
Session 5 Self-Awareness or Self-Affirmation
Session 6 Politics of Identity: Tradition and Origin
Session 7 Translation and Change
Session 8 Art and Taboo
Session 9 Autonomy and Elusion
Session 10 Gendered Practices
Session 11 Landscape and Spectacle
Session 12 Garden and Courtyard
Session 13 Transmission and Adoption
Session 14 The Other and the Foreign: Contact, Curiosity, and Creative Exchange
Session 15 Creative Misunderstanding
Session 16 Commodity and Market
Session 17 Display
Session 18 Media and Visuality
Session 19 History of Beauty vs. History of Art
Session 20 Professional Education and Aesthetic Education
Session 21 Connecting Art Histories and World Art
Commentator in Session 14
Depicting Sinners and Heretics as Others in Western European Medieval Art
THE ZOOLOGICAL OTHER IN EARLY MODERN EUROPE: THE CASE OF THE ARMADILLO
St. Michael the Archangel Holding a Monstrance in Macau: Style, Iconography, and Importance of a Christian painting in the Far-East
The Optics of Otherness: Vermeer’s Painted Porcelain
Hybridity as Authenticity: Cultural Contact, Geography and Early Modern Balkan Visual Culture
LEE HAMMERS, Roslyn
Agriculture by Royal Example: Eighteenth-century representations of the emperor at work in China and in France
“Investing the Body: Self Made Other in 18th-Century Russian Portraiture” Allison Leigh
Stitching together lacquer cabinets
SUH Katharina I-Bon
Regarding China as the Other in 18th century paintings of Daoist immortals by Kim Hongdo
At Home in the Colonies? The Renoirs, painter and filmmaker, in India and Algeria
The Commercial Art Gallery as Cultural Contact Zone
The What and Where of “Other” in Exhibitions and Biennales in Regions and the World
Severed heads and ideal portraits: The real versus the typical in the iconography of 1930s Brazil
LEE, Joo Yun
Antoni Muntadas’ Asian Protocols: Being an insider and outsider in the translation of the relationality of China, Japan, and Korea
The Other without Otherness: On Three Contemporary Artists
This session is concerned with the representation of the ‘other’ and the ‘foreign’ in art as well as with the reception of ‘other’ and ‘foreign’ art forms. It acknowledges that, in a global world, the notion of ‘othering’ is not restricted to the geographically or ethnically distant (‘foreign’), but occurs within one’s own (geographically defined) culture between different social classes, genders, age groups, and religious affiliations. More generally, the session focuses on the phenomenon of artistic encounter and exchange. While its parameters are worldwide, papers on all topics related to the ‘other’/’foreign’ are solicited in as far as they pertain to the creation and reception of art and/or the transmission of creative ideas. Papers on the contacts between specific regions or the role and place of individual artists in the process of artistic exchange are welcomed.
Questions to be addressed may include but are not limited to the following:
·Can we distinguish universal paradigms for the ways in which ‘the other’ is represented in art, globally.
·In the global history of art, how have animals been used as devices for ‘othering’, not solely as subject matter, but as a means through which artists and their audiences engage with the nature of self-other relationships?
·How can we improve our theoretical models of the reception of foreign and, more generally, ‘other’ art?’
·Are there degrees of ‘otherness, ‘and if so, can we measure them? Can a work produced within one’s own (geographically defined) culture be just as ‘other’ as, or more so than, a work produced in a ‘foreign’ culture?
·How can we theorize ‘artistic exchange?’
·How do we define ‘hybridity’ in art? Is more than one definition possible?
·What is the relation/difference between exchanges between cultural centers and those that happen at peripheries, specifically in connection with ‘hybrid’ art forms?
·To what extent can artistic differences and sameness be accounted for through geography?