Issued in connection with an exhibition held at the Saint Louis Art Museum from March 6 to May 8, 2016.
Persian Carpets: the Nation As a Transnational Commodity tracks the Persian carpet as an exotic and mythological object, as a commodity, and as an image from mid-nineteenth-century England to contemporary Iran and the Iranian diaspora. Following the journey of this single object, the book brings issues of labor into conversation with the politics of aesthetics. It focuses on the carpet as a commodity which crosses the boundaries of private and public, religious and secular, culture and economy, modern and traditional, home and diaspora, and art and commodity to tell the story of transnational interconnectivity. Bringing transnational feminist cultural studies, ethnography, and network studies within the same frame of reference, this book sheds light on Orientalia as civilizational objects that emerged as commodities in the encounter between the West and the many directly or indirectly colonized Middle Eastern and West Asian cultures, focusing on the specific example of Persian carpets as some of the most extensively valued and traded objects since colonial modernity.
Objects of knowledge, subjects of consumption: Persian carpets and the gendered politics of transnational knowledge / Minoo Moallem -- Spaces of exception: violence, technology, and the transpressive gendered body in India's global call centers / Radha S. Hegde -- Maid as metaphor: Dagongmei and a new pathway to Chinese transnational capital / Wanning Sun -- Dial "C" for culture: telecommunications, gender, and the Filipino transnational migrant market / Jan Maghinay Padios -- Digital cosmopolitanisms: the gendered visual culture of human rights activism / Sujata Moorti -- Doing cultural citizenship in the global media hub: illiberal pragmatics and lesbian consumption practices in Singapore / Audrey Yue -- Gendering cyberspace: transnational mappings and Uyghur diasporic politics / Saskia Witteborn -- Ladies and gentlemen, Boyahs and girls: uploading transnational queer subjectivities in the United Arab emirates / Noor Al-Qasimi.
Ready to upgrade your artwork from framed Monet posters but intimidated by what you see in galleries? In The Intrepid Art Collector, Lisa Hunter shows you how to start a fine art collection without spending a fortune. This accessible, jargon-free resource contains up-to-date information on the most popular original art—everything from photography and posters to African art and animation—including where to find it and how to buy it at a fair price. Easy-to-use checklists help you evaluate original art and steer clear of clever fakes. In addition, Hunter has interviewed top dealers, curators, arts lawyers, and appraisers to bring you the best advice on: • Advantages to buying real art instead of reproductions • Determining if a piece of art is fairly priced • Predicting if an artist’s work will go up in value • Techniques for negotiating a price with a dealer • Developing your artistic taste, so you’ll know if you’ll still love your purchase ten years down the road • How to preserve art in your home • Resources, websites, and magazines that will help you learn more about the market and where to find different types of art
Through a close look at the history of the modernist hooked rug, this book raises important questions about the broader history of American modernism in the first half of the twentieth century. Although hooked rugs are not generally associated with the avant-garde, this study demonstrates that they were a significant part of the artistic production of many artists engaged in modernist experimentation. Cynthia Fowler discusses the efforts of Ralph Pearson and of Zoltan and Rosa Hecht to establish modernist hooked rug industries in the 1920s, uncovering a previously undocumented history. The book includes a consideration of the rural workers used to create the modernist narrative of the hooked rug, as cottage industries were established throughout the rural Northeast and South to serve the ever increasing demand for hooked rugs by urban consumers. Fowler closely examines institutional enterprises that highlighted and engaged the modernist hooked rugs, such as key exhibitions at the Museum of Modern Art and the Metropolitan Museum of Art in the 1930s and '40s. This study reveals the fluidity of boundaries among art, craft and design, and the profound efforts of a devoted group of modernists to introduce the general public to the value of modern art.
Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies.
He tells of architecture, calligraphy, woodworking, and earthenware, but lays particular emphasis on the brilliant, underglaze-painted ceramics of Kutahya and the rich, piled carpets for which Turkey has been famed for centuries. While searching for the traits that define art and the stylistic complexities that characterize Turkish creativity, Glassie focuses on the artists and their theories and practices as well as the works they produce.
Written from the viewpoint of the working designer, this textbook describes each material's characteristics and teaches students how to evaluate, select and specify materials.
Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written—or whether it is even possible to do so. He also engages the political and moral issues raised by the idea of a multicultural art history. Focusing on a consideration of intersecting artistic traditions, Carrier negotiates the way meaning and understanding shift or are altered when a visual object from one culture, for example, is inserted into the visual tradition of another culture. A World Art History and Its Objects proposes the use of temporal narrative as a way to begin to understand a multicultural art history.