Looking at the political significance of cross-cultural encounters refracted through the visual languages of Orientalism, the contributors engage with pressing recent debates about indigenous agency, postcolonial identity, and gendered subjectivities. The very range of artists, styles, and forms discussed in this collection broadens contemporary understandings of Orientalist art. Among the artists considered are the Algerian painters Azouaou Mammeri and Mohammed Racim; Turkish painter Osman Hamdi; British landscape painter Barbara Bodichon; and the French painter Henri Regnault. From the liminal "Third Space" created by mosques in postcolonial Britain to the ways nineteenth-century harem women negotiated their portraits by British artists, the essays in this collection force a rethinking of the Orientalist canon.
This innovative volume will appeal to those interested in art history, theories of gender, and postcolonial studies.
Contributors. Jill Beaulieu, Roger Benjamin, Zeynep Çelik, Deborah Cherry, Hollis Clayson, Mark Crinson, Mary Roberts
Covers indigenous art and agency, contemporary practices of collection and display, and a survey of key Orientalist tropes
Contains original essays on new perspectives for scholars and students of art history, architecture, museum studies and cultural and postcolonial studies
Highlights contested identities and new definitions of self through topics such as 19th century monuments to Empire, cultural cross-dressing, performance and display at the international exhibitions, and contemporary museological practice.
After living in Las Vegas for 43 years I've come to realize that local people are unique, like no one else. They live in a 24 hour city with every temptation known to man at their fingertips. They try to lead a normal life, but it's possible. They have to cope with it as well as they can. I should know. I have been swept up into the bright lights many times. Unlike many of the characters in this book, I am a survivor.
People outside Las Vegas are intrigued with this outlook on life, pouring into the city to have a little "wallow in the mud", as the French call it. The French recognize that there is something inside us that makes us want to do something naughty. We just can't help it. Las Vegasns live very close to mud.
Put it all together and you have Little Sins in Sin City. This book is full of little stories about little sins. Some of them begin in other parts of the world, yet end up in our world famous Las Vegas. The sins don't need to be pointed out. You will recognize them.
Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark. She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the 1840s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies. The elite Ottoman women who orchestrated these visits often challenged their guests’ misapprehensions about harem life, and a number of them exercised power as patrons, commissioning portraits from European artists. Their roles as art patrons defy the Western idea of the harem woman as passive odalisque.