Art History (BA Hons) and Gallery
and Museum Studies (minor)
Dr.
Stephanie Pratt
ART HISTORY COURSE (PART OF COMBINED ARTS PROGRAMME)
Myths of Primitivism –
Level 1
Collecting and Exhibiting Cultures
in the 19th Century – Level 2/3
Course description
As a first-level and foundational course of study, this module introduces students to ways of examining and learning about cultures and arts outside Europe, especially the material culture of Africa, Amerindian North America and the Pacific Islands. It looks particularly at the museological questions raised by exhibitions of these items and objects and the current need to find appropriate means of interpretation of such works. A second element of the course concerns modernism’s response to the visual cultures from around the world. Here students will engage with historical terminology such as the concepts of ‘primitivism’, ‘Orientalism’, and exoticism in Western visual culture. Introductory sessions will deal with the problems surrounding study of cultures outside Europe and what Stuart Hall has termed the issues of ‘The West and the rest’.
Module aims:
Module objectives and
learning outcomes are for students:
Sample Lecture/Seminar Programme for module
| Weeks | Topic | Topic |
| Lecture (am) | Seminar (pm) | |
| 1 | Introduction - 'The West and the rest' | Wunderkammer: the Cabinet of curiosities |
| 2 | RAMM visit | Lost Magic Kingdoms |
| 3 | Collections project | Displaying collections |
| 4 | RAMM visit/talk | Collections ‘switch’ |
| 5 | Cubism/Surrealism | Paris and the display of ethnographic arts |
| 6 | Native Americans and Abstract Expressionism | 1940 MOMA exhibition |
| 7 | Aboriginal and Modern | Sydney biennale, Australia |
| 8 | MOMA ‘ Primitivism in 20th C’ | Reviews |
| 9 | RA’s Africa: The Art of a Continent exhibition | Reviews |
| 10 | Contemporary Debates | The Artist as Ethnographer |
Essay One
In relation to the ‘collections’ project (see below), and using any available documentation that you might have accrued from the projects, examine each of the following four critical texts on the processes of collecting/displaying. Write a critical commentary on each text, taking into account those insights and experiences gained from your own process of developing a ‘collection’.
1) James Clifford,
‘Objects and Selves – An Afterword,’ in Objects
and Others. Essays on Museums and Material Culture, edited by George W.
Stocking, Jr., London and Madison: The University of Wisconsin Press, 1985, pp.
236 – 246.
2) Gerald MacMaster,
‘Museums and Galleries as Sites for Artistic intervention,’ in The Subjects of Art History. Historical
Objects in Contemporary Perspective, edited by Mark A. Cheetham, Michael
Ann Holly, and Keith Moxey, Cambridge, New York and Melbourne: Cambridge
University Press, 1998, pp. 250 – 261.
3) Mieke Bal, ‘On
Show: Inside the Ethnographic Museum,’ in Looking
in. The Art of Viewing, introduction by Norman Bryson, New York: G + B Arts
International, 2001, pp. 117 – 160.
4) Claire Farago, ‘Silent
moves. On excluding the ethnographic subject from the discourse of art
history,’ in Art History and its
institutions. Foundations of a discipline, edited by Elizabeth Mansfield,
London and New York: Routledge, 2002, pp. 191 – 214.
Collecting activity
– (linked to essay)
Prior to this essay,
students are asked to assemble a group of items that might be thought of as
their own personal ‘collection’. They are asked to think about their activities
of collecting, whether conscious or not, and to briefly describe the content of
their collection. The remit for what constitutes a ‘collection’ is set as
broadly as is feasible. eg. Looking for items that are transportable and not
too fragile to be displayed. These items are then brought to class and
displayed according to the individual student’s own sense of appropriateness.
The last part of the exercise involves the swapping of collections between
pairs of students who are then required to redisplay the items of their
partner’s collection. Again, there is little given in the way of direction for
the students, hopefully allowing them the space and support to explore their
own sense of what issues, debates and values are raised in the exercise. They
are asked to refer in their essays to any relevant information and experience
uncovered in this activity.
NB Students can employ illustrations and/or visual and written documentation concerning their collecting and displaying activities as a resource for the later writing of the essay. Also, they are encouraged to refer to other collections, locally and nationally, and the handling and displays of their collections.
Essay length: 2,000 words minimum
Essay Two - Alternate essay titles (Choose only one of the following two alternatives):
Either,
Essay A: Read and analyse the following texts written over a period of about 85
years and covering a range of approaches to African art and culture:
1) Roger Fry, ‘The
art of the Bushmen’ (first published, March 1910 in the Burlington Magazine); and ‘Negro Sculpture’, (first published in
April 1920 in the Athenaeum)
reprinted in Vision and Design,
Chatto and Windus, London, 1920, rpt Oxford University Press, Oxford, 1981, pp.
60 – 73.
2) Frank Willett,
‘Ife in Nigerian Art’ (first published in African
arts/Arts d’Afrique, UCLA 1 (1) 1968, pp. 30 – 34) in Charlotte M. Otten,
ed, Anthropology and Art, Readings in
Cross-Cultural Aesthetics, American Museum of Natural History, The Natural
History Press, Garden City, New York, 1971, pp. 354 – 365.
3) William Fagg, ‘In
Search of Meaning in African Art’, (first published in Anthony Forge, ed., Primitive Art and Society, Oxford
University Press, Oxford, 1973, pp. 151 – 68), rpt in Eric Fernie, ed., Art History and its Methods, a critical
anthology, Phaidon Press, London, 1995, pp. 237 – 244.
4) Olu Oguibe, ‘In
the “Heart of Darkness”’, (first published in Third Text, 23, 1993, pp. 3-8), rpt in Eric Fernie, ed., Art History and its methods, a critical
anthology, Phaidon Press, London, 1995, pp. 317 – 322.
5) Ikem Stanley
Okoye, ‘Tribe and Art History’ (first published in Art Bulletin, 77, no. 4, 1996, pp.
614 – 15), rpt in Steve Edwards, ed, Art
and Its Histories, a Reader, Yale University Press, New Haven and London,
in association with the Open University, 1998, pp. 260 – 263.
To begin with, in essay format, you should rehearse in your own words the main arguments of each text and its author and follow this with a critical reading of each taking into account the historiographical problems and methods presented by each text. Finally, in your own words, sum up what you would consider to be an appropriate approach and methodology for the writing of a history of African art and culture for today’s audiences.
Or, Essay B: Choose an object currently held in a local, regional or national collection of either African, Oceanic or North American Indian art (this could be something located in Exeter’s Museum, the Pitt-Rivers Museum in Oxford or the British Museum or any other well-known or noted British collection). Discuss this item first, by giving a description of it and employing any information that can be gained from the collection in which it is housed. Next, taking into account all of the readings which you’ve undertaken for this course, attempt to situate this work of art/material object within current art historical understandings of the culture and society within which it was first produced and received.
Essay length: 2,000 words minimum
Select Bibliography
Barker, Emma (ed), Contemporary Cultures of Display (New
Haven: Yale University Press, 1999)
Clifford, James, The Predicament of Culture: Twentieth
Century Ethnography, Literature and
Art
(Cambridge, Mass.: Harvard University Press, 1988)
Connelly, Frances S.,
The Sleep of Reason. Primitivism in
Modern European Art and
Aesthetics,
1725 – 1907 (University Park, Pennsylvania: The
Pennsylvania University
Press, 1995)
Fusco, Coco, The bodies that were not ours and
other writings (London: Routledge, 2001)
Goldwater, Robert, Primitivism in Modern Art (Cambridge,
Mass:Harvard University Press,
1986) (first
published, 1938)
Gomez-Pena,
Guillermo, Dangerous Border Crosser
(London: Routledge, 2000)
Hiller, Susan, The Myth of Primitivism. Perspectives on art,
edited and compiled by Susan
Hiller (London:
Routledge, 1991)
Mackenzie, John, Orientalism. History, Theory and the Arts
(Manchester: Manchester
University Press,
1995)
MacMaster,
Gerald, “Museums and Galleries as Sites
for artistic Intervention,” in The
Subjects of Art History. Historical Objects
In Contemporary Perspective, edited
by Mark A. Cheetham,
Michael Ann Holly, and Keith Moxey (Cambridge, New York,
Melbourne: Cambridge
University Press, 1998), pp. 250 – 261.
Malbert, Roger, Exotic Europeans, exhibition catalogue
(London: South Bank Centre,
1991)
Malraux, André, Picasso’s Mask, translated and annotated
by June Guicharnaud, with
Jacques Guicharnaud
(New York: Holt, Rinehart and Winston, 1976)
Mansfield, Elizabeth
(ed), Art History and its institutions.
Foundations of a discipline (London
and New York:
Routledge, 2002)
Mason, Peter, Infelicities. Representations of the Exotic
(Baltimore and London: The John
Hopkins University
Press, 1998)
Otten, Charlotte M
(ed), Anthropology and Art. Readings in
Cross-cultural Aesthetics,
published for the
American Museum of Natural History. (Garden City, New York: The Natural History
Press, 1971)
Preziosi, Donald, The Art
of Art History: A critical anthology (Oxford: Oxford University
Press, 1998)
Price, Sally, Primitive
Art in Civilised Places (Chicago: University of Chicago Press, 1989)
Rubin, William (ed), Primitivism in Twentieth Century Art:
Affinity of the Tribal and the
Modern, 2 vols (New York:
Museum of Modern Art; Boston: New York Graphic Society Books, 1984)
Simpson, Moira G., Making Representations. Museums in the
Post-Colonial Era, rev. ed.
(London and New York:
Routledge, 1996, 2001)
Torgovnick, Marianna,
Gone Primitive. Savage Intellects and
Modern Lives (Chicago and
London: University of
Chicago Press, 1990)
Travel Narratives
Griaule, Marcel, Conversations with Ogotemmêli: An
introduction to Dogon religious ideas,
with an introduction
by Germaine Dieterlen, London: Oxford University Press, 1965
Art and Culture
Coombes, Annie E., Reinventing Africa. Museums, Material
Culture and Popular Imagination
in Late Victorian and Edwardian England (New
Haven and London: Yale University
Press, 1994)
Fry, Jacqueline, The Art and Peoples of Black Africa,
with a preface by Michel Leiris,
Translated by Carol
F. Jopling. (New York: Dutton, 1974)
Grunne, Bernard de, The Birth of Art in Africa. Nok Statuary in
Nigeria, exhibition catalogue
from exhibition held at the Banque Générale du Luxembourg, Paris. (Société nouvelle Adam Biro, 1999)
Phillips, Tom, Africa. The Art of a Continent,
Introduction by Tom Phillips, catalogue of the
exhibition held at
the Royal Academy of Arts, London, Munich, London, New York and the Royal
Academy of Arts (Prestel Verlag, 1999)
Vogel, Susan, Art/artifact: African Art in Anthropology
Collections (New York: Center for
African Art, 1988)
Willett, Frank, African Art: An introduction, Revised
edition (New York: Thames and Hudson,
1994)
Travel Narratives
Gauguin, Paul, “Avant et Après,” in The Writings of a Savage, edited by Daniel Guérin,
Introduction by Wayne
Andersen. Translated by Eleanor Levieux. (New York: Viking, 1978)
Joppien, Rudiger and
Bernard Smith, The Art of Captain Cook’s
Voyages, 3 vols. (New
Haven: Yale
University Press, 1988)
Art and Culture
Kaeppler, Adrienne,
and Christian Kaufmann, Oceanic Art
(New York: Harry N. Abrams, 1997)
Thomas, Nicholas, Oceanic Art. (London: Thames and Hudson,
1995)
Aratjara. Art of the First Australians: Traditional
and Contemporary Works by Aboriginal
and
Torres Straits Islander Artists (Dumont Buchverlag,
1993)
Travel Narratives
Catlin, George, Letters and Notes on the Manners, Customs,
and Conditions of North American Indians, 2 vols (New York: Dover
Publications, 1973; first published,
London, 1844)
Chateaubriand,
François-René de, Travels in America,
translated by Richard Switzer
(Lexington:
University of Kentucky Press, 1969)
Art and Culture
Berlo, Janet
Catherine and Ruth B. Phillips, Native
North American Art (Oxford: Oxford
University Press, 1998)
Clifton, James A.
(ed), The Invented Indian. Cultural
fictions and government policies (New
Brunswick and London:
Transaction Publishers, 1990)
Coe, Ralph T., Sacred Circles: two thousand years of North
American Indian art, exhibition
organised by the Arts
Council of Great Britain (London: Hayward Gallery, 1977)
Feest, Christian F., Native Arts of North America, updated
edition. (New York: Thames and
Hudson, 1992)
Honour, Hugh, The New Golden Land. European Images of
America from the Discoveries to
the
present time
(New York: Pantheon, 1975)
Honour, Hugh, The European Vision of America,
exhibition catalogue (Cleveland: Cleveland
Museum of Art, 1975)
Meuli, Jonathan, Shadow House. Interpretations of Northwest
Coast Art (Amsterdam:
Hardwood Academic
Publishers, 2001)
Royal Albert Memorial
Museum, Klaya-ho-alth (‘Welcome in
Nuu-chah-nulth’) Text by
Jane Burkinshaw
(Exeter: Exeter City Museums, 1999)
Stewart Hilary, Looking at Indian art of the Northwest Coast
(Seattle: University of Washington Press, 1979)
COLLECTING AND EXHIBITING
CULTURES IN THE 19TH CENTURY – LEVEL TWO/THREE (20 CREDITS)
This module is designed to focus on a crucial issue in the study of world cultures, namely, the ways in which their material artefacts are displayed in Western museums. Western ethnographical collections rose to prominence in the nineteenth century, at a time when imperial and/or colonial expansion saw most of the world fall under Western control. Cultures described as ‘non-European’, ‘primitive’ or ‘exotic’, simply by virtue of their difference to Western norms, were exhibited to European and North American audiences in purpose-built displays. We will examine how these displays constructed representations of these ‘exotic’ cultures, which confirmed the West’s self-image. More recent museological thinking has attempted to offer a better informed display, sometimes working with communities from which the material objects derive, and we will assess the extent to which twenty-first century museum practice has moved on from nineteenth and early twentieth century practice. Students will be asked to apply their research and readings to a group of particularly significant historical and/or spiritual items in the local Exeter collections. Several issues of concern (representation, historicity, repatriation) will be addressed in a case-study and a re-hang/re-display within the museum setting will be attempted.
Module aims:
·
To provide students with an opportunity
to research within museum collections and archives
·
To allow students to become more
familiar with different art traditions and material objects
·
To introduce and broaden students’
knowledge of diverse world cultures and their arts
Objectives:
(at the end of this module students will be able to)
·
Demonstrate an
understanding of the basis for ethnographic collecting in the nineteenth
century
·
Evaluate the historiographical
approaches offered for art history of diverse World cultures
·
Analyse and evaluate past and present
museum displays of ‘ethnographical’ materials
·
Discuss issues facing contemporary
displays/exhibitions of world cultures
Sample
Lecture/Seminar Programme
| Weeks | Topic | Topic |
| Lecture (am) | Seminar (pm) | |
| 1 | Intro – ‘Collections & Collectionism’ | Exercise in text analysis* |
| 2 | Colonial exhibitions & their impact | ‘Wild West’ shows |
| 3 | Royal Albert Memorial Museum visit | RAMM’s history |
| 4 | Collecting and Reinventing Africa in the 19th Century | Benin bronzes |
| 5 | 19th C American Indian Plains’ culture | Sacred shirts exhibition |
| 6 | Critiques of Exhibition/Display | workshop |
| 7 | Growth of Aboriginal/First Nations Museums | Repatriation issues |
| 8 | Visit to British Museum or Pitt Rivers, Oxford | Repatriation issues |
| 9 | New Museology and research methods | archival research |
| 10 | Group projects presentation | evaluation |
| *This involves a group activity reading and discussing early travel and exploration narratives. | ||
*This involves a group activity reading and discussing early
travel and exploration narratives.
Assessment 1:
Written essay of 2,000 words
addressing only one of the following questions/issues:
1. Identify and analyse some of the main reasons for the growth in ethnographic collections from the eighteenth to the late nineteenth centuries in Europe and America.
2. Offer a full account of the formation of, either
the Pitt Rivers collection, Oxford, or the British Museum’s ethnographic
collection.
3. Identify the major issues and concerns
surrounding the display of either African or North American
Indian historical artefacts in Western museums today.
Essay length: 2,000 – 3,000 words
Assessment 2:
The second assessment
relates to the planning and execution of a re-display of items in the World
Cultures section of the Royal Albert Memorial Museum in Exeter. The working
title for the re-display is ‘Cecil Denny and Chief Crowfoot of the
Siksika’, but this can still be altered prior
to the opening of the new display. The Museum has agreed you will have almost
complete responsibility for what goes into the exhibition and how it will be
displayed and framed educationally. I have a number of small projects that can
be carried out prior to the opening in September 2004 of our ‘exhibition’. List is as follows:
1.
Develop a box-file on
one significant item within the Denny Bequest at the Royal Albert Memorial
Museum. This might include letters from archives, an historical account of
Denny as a collector, curatorial reports, conservation reports, important
comparative examples, ethnohistorical records, documents and statements, etc.
Write up a list of contents and a two-page A4 sized report on the item in
question.
2.
Work collaboratively
with the RAMM conservators to produce a conservation record of one of the items
intended for display in the exhibition. Write up a two-page self-reflective
essay addressing the issues that were raised in this process and how it might
influence practice in museology in the future.
3.
Research, develop and
document a proposed educational workshop for school-age children entitled
‘Cecil Denny and Chief Crowfoot’ that would address some of the themes raised
in the exhibition we will put on display.
4.
Design written labels
and wall-plaques for the proposed exhibition taking into account some of the
issues and problems raised in this course concerning display and exhibition of
items from First Nations’ cultures. (NB. This does not have to be presented in
its final format but can be word-processed and use scanned images.) Write up a
critical account of the decision-making process and referring to previous
scholarly discussions regarding museum representation of those cultures outside
the West. (Critical account = 1,500 words)
Select Bibliography
Arts Council of Great
Britain, Sacred Circles. Two Thousand
Years of North American Indian
Art,
catalogue by Ralph T. Coe (London: Hayward Gallery, 1976)
Barringer, Tim and Flynn,
Tom (eds), Colonialism and the Object.
Empire, Material Culture
and the Museum (London and New York: Routledge, 1998)
Brown, Stephen C (ed), Spirits of the Water. Native Art Collected
on Expeditions to Alaska
and British Columbia, 1774 – 1910 (Seattle: University of Washington Press, 2000)
Edmond, Rod, Representing the South Pacific. Colonial
Discourse from Cook to Gauguin
(Cambridge University
Press, Cambridge and New York, 1997)
Elsner, John and
Cardinal, Roger (eds), The Cultures of
Collecting (London: Reaktion Books, 1994)
Coombes, Annie E., Reinventing Africa. Museums, Material
Culture And Popular Imagination
in
Late Victorian and Edwardian England (New Haven and
London: Yale University
Press, 1994)
Hall,
Stuart (ed), Representation. Cultural
Representations and signifying practices (London:
Sage
Publications, London, 1997)
Hooper-Greenhill,
Eilean,
Museums and the Shaping of Knowledge (London and New York:
Routledge, 1992)
Horse Capture, Joseph D.
and Horse Capture, George P., Beauty,
Honor, and Tradition. The
Legacy of Plains Indian Shirts National Museum of the American Indian and
Minneapolis Institute of Arts (Minneapolis: University of Minnesota Press,
2001)
Karp, Ivan and Lavine, Stephen D.
(eds), Exhibiting Cultures. The Poetics
and Politics of
Museum Display (Washington, D.C. and London: Smithsonian Institution Press, 1991)
Loomba, Ania Colonialism/Post-Colonialism (London and New York: Routledge, 1998)
Lumley, Robert (ed), The Museum Time-Machine. Putting cultures on
display (London
and New York: A Comedia
Book, Routledge, 1988. rpt. 1990, 1992)
Mansfield, Elizabeth
(ed), Art History and its Institutions.
Foundations of a discipline
(London and New York:
Routledge, 2002)
National Museum of
the American Indian/Smithsonian Institution, The Changing
Presentation
of the American Indian. Museums and Native Cultures
(Seattle and
London: University of
Washington Press, 2000)
Pearce, Susan and Ken
Arnold (eds.), The Collector’s Voice: Critical Readings in the Practice of Collecting (Vol.
2) Early Voices (Aldershot,
Burlington, Singapore, Sydney:
Ashgate, 2000)
Pomian, Krzysztof, Collectors and Curiosities. Paris and
Venice, 1500 – 1800, translated by
Elizabeth Wiles-Porter
(Cambridge: Polity Press, 1990)
Stocking,
Jr., George (ed), Objects and Others
(Madison: University of Wisconsin Press,
1985)
Thomas, Nicholas, Possessions. Indigenous Art/Colonial Culture
(London: Thames and
Hudson, 1999)
Young, Robert, White Mythologies. Writing History and the
West (Routledge: London and
New York, 1990)
CULTURAL DIFFERENCE – LEVEL THREE (10 CREDITS)
Course description
The aim of this seminar
course is to examine the formation of cultural identities via the agency of the
arts in modern democratic and/or totalitarian societies. In a series of case
studies (organised and presented by groups of two students each) it will
examine those moments when the arts were mobilised to define and valorise a
particular society’s self-image. The basis for such examination comes from the
recent growth in historical and art historical study of mentalities, national
identities and cultural distinctions. This course may also be seen as an
attempt to broaden the current curricula in art history departments in the UK,
to include more aspects of a diversity of cultures.
To a large extent
such historical investigation might be seen as an extension of Alain Touraine’s
examination of historicity. Touraine characterises historicity as a society’s
capacity to act on itself and to determine its own order of representations,
both for itself and its own history. Thus, historicity is active in the
symbolic realm to answer questions of origin, identity and destiny. The visual
arts are key witnesses of the ways in which certain social and cultural formations
(national, regional or in-group) have attempted to elaborate their
distinctiveness by enunciating self-sustaining myths of identity and
difference.
Module Aims and Objectives
Module aims:
across different cultural groups.
Module objectives
(at the end of the module, students):
| Weeks | Topic | Seminar led by |
| Lecture (am) | Lecturer | |
| 1 | Introduction – Art and Issues of Identity | Students |
| 2 | Nationalism in American Art | Students |
| 3 | The Italian Macchiaioli and the Risorgimento | Students |
| 4 | The Heidelberg School | Students |
| 5 | British Neo-Romanticism | Students |
| 6 | Contemporary Aboriginal Art | Students |
| 7 | German Neo-Expressionism | Students |
| 8 | Black Arts in Britain | Guest lecturer |
| 9 | Contemporary Native American Art | Students |
| 10 | Contemporary Chinese calligraphic art | Students |
Assessment
This course has revolved
around questions of art and identity taking into account notions developed by
theorists such as Alain Touraine and Agnes Heller concerning ‘historicity’ and
‘everyday historical consciousness’.
Discuss the topic of
your seminar presentation in an essay of 2,000 words minimum and taking into
account more recent theories concerning art and identity as a social/cultural
formation. (Your essay may draw on a broad range of thinking including writers
who have discussed notions of hybridity, such as Homi Bhabha, as well as more
sociological studies such as those by Patrick Wright.)
Select Bibliography
Anderson, Benedict, Imagined Communities: Reflections on the
Origin and Spread of
Nationalism
(London: Verso, 1983)
Araeen, Rasheed, The Other Story. Afro-Asian artists in Post
War Britain, exhibition
catalogue (London:
Hayward Gallery, 1989)
Arasse, Daniel, Anselm Keifer (London: Thames and
Hudson, 2001)
Aratjara. Art of the First Australians: Traditional
and Contemporary Works by Aboriginal
and Torres Straits Islander Artists (Dumont Buchverlag, 1993)
Barass, Gordon S., The Art of Calligraphy in Modern China
(London: The British Museum
Press, 2002)
Boime, Albert, The Art of the Macchia and the Risorgimento: Representing Culture
and
Nationalism in nineteenth century Italy (Chicago: Chicago University Press, 1993)
Brett, Guy, Through our own eyes (London: GMP, 1986)
Broude, Norma (ed), World Impressionism. The International Movement, 1860 – 1920,
(New York: Harry N.
Abrams, 1990)
Clark, Jane &
Whitelaw, Bridget, Golden Summers –
Heidelberg and Beyond (Victoria,
Australia: International
Cultural Corporation of Australia Ltd, 1985)
Featherstone, Mike (ed), Global Culture: Nationalism, Globalisation
and Modernity,
(London: Sage, 1990)
Gellner, Ernest, Nations and Nationalism (Oxford:
Blackwell Publishing, 1983)
Harrison, Charles, English Art and Modernism, 1900 - 1939,
with a new introduction,
2nd ed (New
Haven: Yale University Press, 1994; first pub. 1981)
Hill, Tom and Hill,
Richard W. Sr (ed), Creations journey.
Native American identity and
belief
(Washington D.C.: Smithsonian Institution in association with the National
Museum of the American
Indian, Smithsonian Institution Press, 1994)
Hobsbawm, Eric &
Ranger, Terence (eds), The Invention of
Tradition (Cambridge:
Cambridge University
Press, 1983)
King, Catherine (ed), Views of Difference: Different Views of Art
(New Haven and London:
Yale University Press in
association with the Open University, 1999)
La France – Images of Woman and Ideas of Nation,
1789 – 1989 (London: Hayward
Gallery, 1989)
McMaster, Gerald and
Martin, Lee-Ann (eds), Indigena. Native perspectives
in Canadian
Art
(Craftsman House, 1992)
Martín Alcoff, Linda
& Mendieta, Eduardo (eds), Identities.
Race, Class, Gender, and
Nationality
(Oxford: Blackwell Publishing, 2003)
Mellor, David (ed), Paradise Lost. The Neo-Romantic Imagination
in Britain, 1935 – 55,
exh. cat. (London: Lund
Humphries, 1987)
Novak, Barbara, American Painting of the Nineteenth Century:
Realism, idealism and
the American Experience, 2nd ed. (New York: Harper and Row, Icon
editions, 1979)
Novak, Barbara, Nature and Culture. American Landscape and
Painting, 1825 – 1875,
(Oxford: Oxford
University Press, 1980)
Owusu, Kwesi, The Struggle for Black Arts in Britain. What
can we consider better than
freedom
(London: Comedia, 1986)
Owusu, Kwesi, Storms of the Heart: An Anthology of Black
Arts and Culture (London:
Camden Press, 1988)
Porter, Roy & Teich,
Mikulas, Romanticism in National Context
(Cambridge and London:
Cambridge University
Press, 1988)
Ranum, Orest (ed), National Consciousness, History and
Political Culture (London: 1975)
Rowe, Dorothy ‘Differencing the City: Urban Identities and
the Spatial Imagination,’ in
Urban Futures. Critical commentaries on shaping the
city, edited by Malcolm
Miles and Tim Hall
(London and New York: Routledge, 2003), pp. 27 – 43.
Rushing, William Jackson
(ed), Native American Art in the
Twentieth Century (London:
Routledge, 1999).
Rutherford, J., Identity: Community, Culture, Difference
(London: Lawrence and Wishart,
1990)
Samuel, Raphael, Patriotism. The Making and Unmaking of
British National Identity,
2 vols (London:
Routledge, 1989)
Samuel, Raphael &
Stedman Jones, Gareth (eds), Culture,
Ideology and Politics (London:
Routledge and Kegan Paul,
1982)
Smith, Anthony D., National Identity (Harmondsworth:
Penguin Books, 1991)
Taylor, Joshua C., America as Art (New York: Harper and
Row, 1976)
Taylor, Paul, The Road to Botany Bay (London: Faber,
1987)
Thomas, Daniel (ed), Creating Australia (Victoria, Australia:
International Cultural
Corporation of Australia
Ltd, 1988)
Transforming the Crown: African, Asian and Caribbean
Artists in Britain, 1966 – 1996,
exhibition catalogue (New
York: Franklin H. Williams Caribbean Cultural Centre/
African Diaspora
Institute, 1997)
Truettner, William (ed), The
West as America: Reinterpreting images of the frontier, 1820 –
1920, exhibition catalogue (Smithsonian Institution,
Washington, D.C: Smithsonian
Institution Press, 1991)
Woodcock, Peter, This enchanted isle: the neo-romantic vision
from William Blake to the
new visionaries (Glastonbury: Gothic Image Publications, 2000)
Wright, Patrick, On Living in an Old Country (London:
Verso, 1985)