CIHA 2016 in Beijing

34th World Congress of Art History

About History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed


Participants
CHU Petra
Chair

DING Ning
Chinese Chair

MILAM Jennifer
Commentator in Session 14

LIANG Shuhan
Junior Chair

VICELJA, Marina
Depicting Sinners and Heretics as Others in Western European Medieval Art

BERBARA, Maria
THE ZOOLOGICAL OTHER IN EARLY MODERN EUROPE: THE CASE OF THE ARMADILLO

KOJIMA, Yoshie
St. Michael the Archangel Holding a Monstrance in Macau: Style, Iconography, and Importance of a Christian painting in the Far-East

WESTSTEIJN, Thijs
The Optics of Otherness: Vermeer’s Painted Porcelain

MAKULJEVIC, Nenad
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

LEIGH, Allison
“Investing the Body: Self Made Other in 18th-Century Russian Portraiture” Allison Leigh

MARTIN, Mattgew
Stitching together lacquer cabinets

SUH Katharina I-Bon
Regarding China as the Other in 18th century paintings of Daoist immortals by Kim Hongdo

PORTERFIELD, Todd
At Home in the Colonies? The Renoirs, painter and filmmaker, in India and Algeria

HELMREICH, Anne
The Commercial Art Gallery as Cultural Contact Zone

ALBRITTON, Ann
The What and Where of “Other” in Exhibitions and Biennales in Regions and the World

CARDOSO, Rafael
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

ZHAI Jing
The Other without Otherness: On Three Contemporary Artists

Schedule of Session 14.pdf


Schedule of Session 14.jpg

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?