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International expositions or "world's fairs" are the largest and most important stage on which millions routinely gather to directly experience, express, and respond to cultural difference. Rather than looking at Asian representation at the hands of colonizing powers, something already much examined, Asian Self-Representation at World's Fairs instead focuses on expressions of an empowered Asian self-representation at world's fairs in the West after the so-called golden age of the exhibition. New modes of representation became possible as the older "exhibitionary order" of earlier fairs gave way to a dominant "performative order," one increasingly preoccupied with generating experience and affect. Using case studies of national representation at selected fairs over the hundred-year period from 1915-2015, this book considers both the politics of representation as well as what happens within the imaginative worlds of Asian country pavilions, where the performative has become the dominant mode for imprinting directly on human bodies.

Self-perception --- National characteristics, Asian. --- Exhibitions --- Self-concept --- Self image --- Self-understanding --- Perception --- Self-discrepancy theory --- Self-evaluation --- Exhibits --- Expos (Exhibitions) --- Expositions --- Industrial arts --- Industrial exhibitions --- International exhibitions --- Technology --- World's fairs --- Sales promotion --- Fairs --- Asian national characteristics --- History. --- Asian self-representation Asian modernities Asian cultural flows Performance and performativity international expositions.

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This book addresses the politics of borders in the era of global art by exploring the identification of Chinese artists by location and exhibition. Focusing on performative, body-oriented video works by the post-1989 generation, it tests the premise of genealogical inscription and the ways in which cultural objects are attributed to the artist's residency, homeland or citizenship rather than cultural tradition, style or practice. Acknowledging historical definitions of Chineseness, including the orientalist assumptions of the past and the cultural-mixing of the present, the book's case studies address the paradoxes and contradictions of representation. An analysis of the historical matrix of global expositions reveals the structural connections among art, culture, capital and nation.

Video art --- Art --- Art, Chinese. --- Exhibitions. --- Exhibition techniques. --- Exhibitions --- Political aspects. --- Chinese contemporary art. --- Chinese experimental art. --- Performance art. --- biennials. --- bodily oriented art. --- diaspora. --- eco-feminism. --- global expositions. --- transnationalism.

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Through archaeological and archival research from sites associated with the 1893 World's Columbian Exposition in Chicago, 'Disposing of Modernity' explores the changing world of urban America at the turn of the twentieth century.

Refuse and refuse disposal --- Exhibitions --- Social aspects --- History --- World's Columbian Exposition --- History. --- Chicago (Ill.) --- Chicago (Ill.) --- History. --- Social life and customs.

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Byzantine art is normally explained as devotional, historical, highly intellectualized, but this book argues for an experiential necessity for a fuller, deeper, more ethical approach to this art. Written in response to an exhibition the author curated at The Menil Collection in 2013, these essays challenge us to search for novel ways to explore and interrogate the art of this distant culture. They marshal diverse disciplines-modern art, environmental theory, anthropology-to argue that Byzantine culture formed a special kind of Christian animism. While completely foreign to our world, that animism still holds important lessons for approaches to our own relations to the world. Mutual probings of subject and art, of past and present, arise in these essays-some new and some previously published-and new explanations therefore open up that will interest historians of art, museum professionals, and anyone interested in how art makes and remakes the world. Byzantine art is normally explained as devotional, historical, highly intellectualized, but this book argues for an experiential necessity for a fuller, deeper, more ethical approach to this art. Written in response to an exhibition the author curated at The Menil Collection in 2013, this monograph challenges us to search for novel ways to explore and interrogate the art of this distant culture. They marshal diverse disciplines-modern art, environmental theory, anthropology-to argue that Byzantine culture formed a special kind of Christian animism. While completely foreign to our world, that animism still holds important lessons for approaches to our own relations to the world. Mutual probings of subject and art, of past and present, arise in these essays-some new and some previously published-and new explanations therefore open up that will interest historians of art, museum professionals, and anyone interested in how art makes and remakes the world.

Art, Byzantine. --- Animism in art. --- Art, Byzantine --- Exhibitions. --- Byzantine art --- Art, Medieval --- Christian art and symbolism --- Byzantine. --- animism. --- art. --- christian animism. --- exhibition. --- museum experience. --- visitor experience. --- Geographical Subject Heading.

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"In the decades preceding the Civil War, coverlets became popular in rural white American households. Often woven by itinerant professional male weavers at the specification of women for use in their homes, these coverlets represent a distinctly American tradition that reflects a rich legacy of folk textiles. Examples of these coverlets are exhibited in both northern and southern states, although in different contexts. They are sometimes exhibited in slave quarters along the seaboard in Georgia and South Carolina in association with plantation properties, as well as in piedmont areas in association with the antebellum yeomanry.These southern textiles are particularly interesting not because of their uniqueness within American textile production in the first half of the 19th century, but because they are most often attributed, in the context of the museum display, to everyday African American slave use, and sometimes to slave production. There is a distinct contrast between the aesthetics of slave house textiles (which are usually bold, hand spun, artisan woven overshot with double weave undulating geometrics) and those of the plantation houses (which tend to be associated with polychromatic European imported printed and woven designs). What can we learn by examining the exhibition and interpretation of these textiles within narratives of American history? This book seeks to answer that question through the examination of these critical questions: How do these textiles arrive in museum collections? How does their placement in slave and servant quarters position them within a history of African American enslaved people's material culture, when in fact they might have been cast offs from an owner? And, finally, in investigating the politics of contemporary exhibition practices, how do appearances resulting from mode of production shape the production of history? Through these explorations, Falls and Smith contend that these exhibits can tell us far more about America's lifestyles today than they might accurately represent the past, particularly with regard to ideas about race, class, gender, the value of women's work, and the separation of private versus public spaces"--

Hand weaving --- Textile design --- Coverlets --- Museum exhibits --- Aesthetics --- History --- Social aspects --- Political asepcts --- Southern States --- Social life and customs --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Display techniques --- Displays, Museum --- Museum displays --- Museums --- Exhibitions --- Museum techniques --- Bed rugs --- Bedspreads --- Bedding --- Interior decoration --- Decoration and ornament --- Design --- Textile industry --- Weaving --- Psychology --- Radio broadcasting Aesthetics --- Comforters --- Duvets