POSTCOLONIAL ART YHU3341, Semester 2, 2021 Mondays / Thursdays, 16:00 - 17:30 Education Resource Centre, Seminar Room 10
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POSTCOLONIAL ART
YHU3341, Semester 2, 2021
Mondays / Thursdays, 16:00 – 17:30
Education Resource Centre, Seminar Room 10
Lecturer: Samar Faruqi
Email: samarfaruqi@yale-nus.edu.sg
Office Hours: Mondays & Thursdays, 12 – 1 pm or 5.30 – 6.30 pm, by appointment
COURSE DESCRIPTION
This course will introduce you to the work of modern and contemporary artists whose
practice has been shaped by or produced in response to the aftermath of colonialism.
Focusing specifically on art production in South and Southeast Asia, Africa, the
Caribbean, Australia, and the work of diaspora artists, the readings will also address
the limited scope of the art historical canon, the prevalence of Eurocentrism in visual
culture, and the challenges of presenting the art world as global. The course will also
include the discussion and application of postcolonial literary theory to the visual arts
to deepen our understanding, and aid in our interpretation, of artworks (painting,
sculpture, film, photography, video art and installations) produced from the 1950s to
the present.
By the end of the course, you should be able understand how colonialism shaped,
impacted and altered contemporary artists’ approach to art making, and, in turn, be
able to identify thematic and formal intersections and divergences of a range of
artworks. The readings will encourage you to critique the art historical canon,
consider the agency of contemporary artists (both non-Western and diaspora) and
consider the historical legacies and human cost of the colonial project through a range
of artworks and key texts by postcolonial and anti-colonial writers (Bhabha, Frantz
Fanon, Stuart Hall, Jacques Derrida). You will also be able to consider postcolonial
theory (in particularly terms like hybridity, mimicry, and ambivalence) in relation to
the work of artists.
ASSIGNMENTS
Written assignments include footnotes in the word count; your word count should be
noted at the end of the assignment. Bibliography and image captions are not included
in the word count; image captions should be marked with ‘fig.’ numbers and correlate
with the work titles when mentioned in the main text. Subtitles should be in bold text,
font size 12 (Times New Roman, Arial, Calibri, Cambria), 1.5 or double-spaced.
2,000 word essay due Thursday, 18 February (11 am)
3,000 word essay due Monday, 19 May (11 am)
2 x group presentations based on museum visits due Thursday, 4 February (10 mins
+ 5 min Q+A) and Monday, 29 March and Thursday, 1 April (15 mins + 5 mins Q
+ A).
GRADING
• All assignments must be completed in order to receive full credit for this course
• Late penalties: late papers will be penalized 10% (one grade equivalent) per day.
50% Individual Written Assignments (essays, first essay 20%, second 30%)
30% Individual Class Participation and Attendance
20% Group presentations (this includes attendance and engagement during
field trips).
PRIMARY TEXTS
§ Views of Difference: Different Views of Art. Edited by Catherine King.
London & New Haven, Yale University Press, 1999.
§ Eddie Chambers, Black Artists in British Art: A History Since the 1950s. IB
Tauris, 2014.§ Low Sze Wee and Patrick D. Flores, eds, Charting Thoughts: Essays on Art in
Southeast Asia, Singapore: National Gallery Singapore, 2017.
§ Ania Loomba, Colonialism / Postcolonialism, Second Edition, Routledge,
2005. NUS Library Ebook.
§ Homi K. Bhabha, The Location of Culture Routledge, 2009 edition, pp. 175 –
198.
COURSE SYLLABUS
Session 1 | Monday, 11 January
Defining the Terms: Colonialism, Imperialism, Neo-colonialism, Postcolonialism
§ Ania Loomba, Colonialism / Postcolonialism, Second Edition, Routledge,
2005, pp. 7 – 41.
OR
§ Robert J.C. Young, ‘Concepts in History’, Postcolonialism: An Historical
Introduction, Blackwell, 2001, pp. 13 – 70.
Session 2| Thursday, 14 January
Postcolonial Literary Theory: Homi K. Bhabha
§ Homi K. Bhabha, ‘Signs taken for wonders: Questions of ambivalence and
authority under a tree outside Delhi, May 1817,’ in The Location of Culture,
Routledge, 2009 edition, pp. 175 – 198.
§ Loomba, ‘Hybridity’, in Colonialism / Postcolonialism, pp. 145 – 153.
OR
§ Young, ‘India III: Hybridity and Subaltern Agency’, in Postcolonialism: An
Historical Introduction, pp. 337 – 359.
OR
§ Michael Hatt and Charlotte Klonk, ‘Hybridity’ and ‘Critical Appraisal,’ in Art
History: A Critical Introduction to Its Methods (Manchester Uni Press, 2006),
pp. 230 -237.
Optional Reading§ Daniel P.S. Goh, ‘Eyes turned towards China: Postcolonial mimicry,
transcultural elitism and Singapore Chineseness,’ in Race and
Multiculturalism in Malaysia and Singapore (Routledge, 2009), edited by
Daniel P.S. Goh et al.
Session 3| Monday, 18 January
Rethinking the Art Historical Canon
§ Partha Mitter, ‘Decentering Modernism: Art History and Avant-Garde Art
from the Periphery,’ The Art Bulletin, vol. 90, no. 4 (Dec., 2008), pp. 531 –
548.
• Gavin Jantjes, ‘Mapping Difference,’ in Views of Difference: Different Views
of Art, edited by Catherine King (Yale University Press, 1999), pp. 23 – 40.
• Gitti Salami and Monica Blackmun Visonà, ‘Writing African Modernism into
Art History,’ in A Companion to Modern African Art, pp. 3 – 20.
Optional Reading
§ Florina H. Capistrano-Baker, ‘Whither Art History? Whither Art History in
the Non-Western World: Exploring the Other(‘s) Art Histories,’ The Art
Bulletin, vol. 97, no. 3 (Sept 2015), pp. 246 – 257.
§ Parul Dave Mukherji, ‘Whither Art History: Whither Art History in a
Globalizing World,’ The Art Bulletin, vol. 96, no. 2 (June 2014), pp. 151 –
155.
Session 4| Thursday, 21 January
Nationalism and Modernity: Art in India Before and After Independence
§ Catherine King with Nicola Durbridge, ‘Rabindranath Tagore: Making
Modern Art in India Before Independence,’ in Views of Difference: Different
Views of Art, pp. 199 – 228.
§ Partha Mitter, ‘Naturalists in the Age of Modernism,’ in The Triumph of
Modernism: India’s Artists and the Avant-Garde 1922 – 1947 (Reacktion
Books, 2007), pp. 123 – 163.
§ Daniel Herwitz, ‘Postcolonial Modernism: The Case of M.F. Husain,’ OR
‘Postcolonial Critique: Frida and Amrita,’ in Aesthetics, Arts and Politics in a
Global World (Bloomsbury Press, 2017)Optional Reading
§ Partha Mitter, ‘How the Past Was Salvaged by Swadesi Artists,’ in Art and
Nationalism in Colonial India, 1850 - 1922 (Cambridge University Press,
1995), pp. 267 – 307.
§ Yashodara Dalmia, ‘A Metaphor for Modernity: Maqbool Fida Husain,’ in
The Making of Modern Indian Art: The Progressives (Oxford University
Press, 2001), pp. 101 – 128.
Session 5| Monday, 25 January
Modern Art in Pakistan
§ Iftikhar Dadi, ‘Art in Pakistan: The First Decades,’ in Hanging Fire:
Contemporary from Pakistan (Asia Society Museum and Yale UP, 2009), pp.
39 – 50.
§ Iftikhar Dadi, ‘Sadequain and Calligraphic Modernism’ or ‘Abdur Rahman
Chughtai: Mughal Aesthetic in the Age of Print,’ in Modernism and the Art of
Muslim South Asia (University of North Carolina Press, 2010).
Optional Reading
§ Akbar Naqvi, Image and Identity: Painting and Sculpture in Pakistan 1947 –
1997, Second Edition (Oxford University Press, 1998), pages tbc.
Session 6| Thursday, 28 January
Nanyang Style Artists, Singapore
§ Kian Chow Kwok, Channels & Confluences: A History of Singapore Art
(Singapore Art Museum), 1996, pp. 23 – 24, 38 – 67, 69 – 70, 70 – 77, 79 – 82
§ Yujin Seng, ‘Lim Hak Tai Points a Third Way: Towards a Socially Engaged
Art by the Nanyang Artists, 1950s-1960s,’ in Charting Thoughts, pp.
§ Liu Kang, ‘Gravel of the River – Nurturing New Life,’ in Liu Kang: Essays on
Art and Culture (National Gallery Singapore, 2011), pp. 68 – 86.
Optional Reading
§ T.K. Sabapathy, ‘The Nanyang Artists: Some General Remarks,’ in Writing
the Modern: Selected Texts on Art & Art History in Singapore, Malaysia &
Southeast Asia (Singapore Art Museum, 2018), pp. 340 – 345.§ Jane Chia, ‘Georgette Chen (1906-1993), A Pioneer Artist,’ Feminist Studies,
Vol. 25, No. 3 (Autumn, 1999), pp. 670 – 677.
Session 7| Monday, 1 February
Museum Visit, National Gallery Singapore
Siapa Nama Kamu? Art in Singapore since the 19th Century, Galleries 1 and 2
Session 8 | Thursday, 4 February
Group Presentations
Session 9| Monday, 8 February
Art After the Algerian Revolution and Beyond
§ Jacques Derrida, Monolingualism of the Other: or, The Prosthesis of Origin,
translated by Patrick Mensah (Stanford University Press, 1998), selected pages
(tbc).
§ Frantz Fanon, ‘The Algerian War and Man’s Liberation,’ in Toward the
African Revolution, translated by Haakon Chevalier, pp. 144 – 149.
§ Mary Vogl, ‘Algerian Painters as Pioneers of Modernism,’ in A Companion to
Modern African Art, pp. 197 – 217.
§ Salah Hassan, ‘ “Nothing Romantic About It!: A Critique of Orientalist
Representation in the Installations of Houria Niati,’ in Gendered Visions: The
Art of Contemporary Africana Women Artists Africa World Press, 1997), 9 –
18.
Optional Reading
§ ‘Art After the Algerian Revolution,’ in Modern Art in the Arab World:
Primary Documents, edited by Anneka Lenssen, Sarah Rogers, Nada Shabout
(MoMA, 2018), selected pages.
§ Delphine Letort and Emmanuelle Cherel, ‘Women on the Algerian Art Scene:
Interrogating the Postcolonial Gaze through Documentary and Video,’ Black
Camera, vol. 6, no. 1 (Fall 2014), pp. 193 – 214.
§ François POUILLON, ‘150 Years of Algerian Painting: Relevance for
Understanding on the Post-Colonial Situation,’ Culture and Society, 20 (2),
2002, pp. 141 – 158.No Class | Thursday, 11 February
Afternoon classes cancelled (Chinese New Year’s Eve)
Sessions 10 & 11 | Monday, 15 February & Thursday February
Film Screening
The Battle of Algiers (1966), Directed by Gillo Pontecorvo, 2hours
(Please note this film contains scenes of violence)
§ Frantz Fanon, ‘Concerning Violence,’ in The Wretched of the Earth (London:
Penguin, 2001 edition), pp. 27 – 75.
Sessions 12| Monday, 1 March
Local and Diaspora Art of the Caribbean
§ Stuart Hall, ‘Cultural Identity and Diaspora,’ in Identity, Community, Culture,
Difference (London: Lawrence and Wishart, 1990), pp. 222 – 237.
§ Carlos Garrido Castellano, ‘Toward A Diasporic Counterstreaming Caribbean
Imagination,’ in Beyond Representation in Contemporary Caribbean Art:
Space, Politics, and the Public Sphere (Rutgers University Press, 2019), 107 –
126.
§ Eddie Chambers, ‘The Pioneering Generation of Caribbean Artists,’ in Black
Artists in British Art, pp. 10 – 24.
Optional Reading
§ B.M. Norbrega, ‘Why did we come?,’ in Memory, Migration and (De)
Colonisation in the Caribbean and Beyond, edited by Jack Webb et al.
(University of London Press, Institute of Latin American Studies, 2020), pp.
31 – 35. Stable URL: https://www.jstor.org/stable/j.ctvwh8cwp.7
RECESS WEEKSession 13| Thursday, 4 March
Nigeria: Post-Independence Art and Artists
§ Chika Okeke-Agulu, ‘Contesting the Modern: Artists’ Societies and Debates
on Art,’ in Postcolonial Modernism: Art and Decolonization in Twentieth
Century Nigeria (Duke University Press, 2015), pp. 227 – 258.
§ Eddie Chambers, ‘Uzo Egonu and Contemporary African Art in Britain,’ in
Black Artists in British Art, pp. 57 -73.
§ John Picton, ‘Modernism and Modernity in African Art,’ in A Modern African
Art, pp. 311 – 329.
OR
§ Catherine King and Nicola Durbridge, ‘Modern Art in Nigeria: Independence
and Innovation,’ in View of Difference: Different Views of Art, pp. 178 – 198.
Optional Reading
§ Moyo Okediji, ‘Scarves of Rare Porcelain: Peju Alatise's Fabric Architecture,’
Feminist Studies, vol. 41, no. 1 (2015), pp. 88 – 115.
Session 14 | Monday 8 March
The Postcolonial and Postmodern in Theory and in Artistic Practice
§ Homi K. Bhabha, ‘How newness enters the world: Postmodern space,
postcolonial times and the trials of cultural translation,’ in The Location of
Culture, pp. 303 – 337.
§ Rasheed Araeen, ‘The Artist as Post-Colonial Subject and This Individual’s
Journey Toward the Center,’ in View of Difference: Different Views of Art, pp.
229 – 255.
Optional Reading
§ Courtney J. Martin , ‘Rasheed Araeen, Live Art, and Radical Politics in
Britain,’ Getty Research Journal, no. 2 (2010), pp. 107-124.
§ Hammad Nasar, ‘Notes from the field: Navigating the Afterlife of the Other
Story,’ Field Notes 4 (2015), Asia Art Archive, pp. 50 – 63.Session 15 | Thursday, 11 March
The Artists Village and the Rise of Performance Art in Singapore
§ Kian Chow Kwok, Channels & Confluences: A History of Singapore Art
(Singapore Art Museum 1996), pages tbc.
OR
§ T.K. Sabapathy, ‘Trimurti: Contemporary Art in Singapore (1993),’ in Writing
the Modern: Selected Texts on Art & Art History in Singapore, Malaysia &
Southeast Asia, 1973-2015, p. 82.
§ The Artists Village: 20 Years On, Exhibition catalogue (SAM, 2009), selected
pages tbc.
§ Tay Swee Lin, ‘Trimurti and Dimensions of Performance Art (1998), in
Histories, Practices, Interventions: A Reader in Singapore Art, edited by
Jeffrey Say and Seng Yu Jin (ICA and LASALLE College, Singapore), pp.
350 – 359.
§ Adele Tan, ‘Lee Wen and the Untaming Of Yves Klein: Art and the Iterative
Force,’ PAJ: A Journal of Performance and Art, vol. 32, no. 2 (May 2010),
pp. 17-23.
§ C. J. W. -L. Wee, ‘Creating High Culture in the Globalized "Cultural Desert"
of Singapore,’ TDR, vol. 47, no. 4 (Winter, 2003), pp. 84-97.
Optional Reading
§ Adele Tan, The Artist Speaks: Lee Wen (National Gallery Singapore, 2020).
§ Lee Wen, Lee Wen: lucid Dreams in the Reverie of the Real (SAM, 2010).
Session 16 | Monday, 15 March
Contemporary Indonesian Art
§ Yvonne Spielmann, ‘ Contemporary Indonesian Art in the Southeast Asian
Context,’ in Contemporary Indonesian Art: Artists, Art Spaces, and Collectors
(NUS Press, 2017), pp. 1 – 50.
§ Edwin Jurriëns, ‘Shaping Spaces: Video Art Communities in Indonesia,’ in
Performing Contemporary Indonesia: Celebrating Identity, Constructing
Community, edited by Barbara Hatley and Brett Hough (Brill, 2008), pp. 98 –
119.Optional Reading
§ Carla Bianpoen, Farah Wardani, and Wulan Dirgantora, ‘Introduction:
Women in Indonesian Modern Art: Chronologies and Testimonies,’ in
Indonesian Women Artists: The Curtain Opens (Yayasan Senirupa Indonesia,
2007), pp. 22 – 34.
§ Wulan Dirgantoro, Feminisms and Contemporary Art in Indonesia: Defining
Experiences (Amsterdam Uni Press, 2017), pages tbc.
Session 17 | Thursday, 18 March
Case Study: Examining Contemporary Cambodian and Vietnamese Art
Through the Work of Sopheap Pich and Dinh Q. Lê
§ Boreth Ly, ‘Of trans(national) subjects and translation: the art and body
language of Sopheap Pich,’ in Modern and contemporary Southeast Asian Art:
An Anthology (Itacha, NY: Southeast Asia Program Publications, Southeast
Asia Program, Cornell University, 2012), edited by Nora A. Taylor and Boreth
Ly.
§ Pamela N. Corey, ‘Beyond Yet Toward Representation: Diasporic Artists and
Craft as Conceptualism in Contemporary Southeast Asia, The Journal of
Modern Craft, 9:2, pp. 161 – 181.
https://doi.org/10.1080/17496772.2016.1205279
Optional Reading
§ ‘Sopheap Pich,’ in Olivia Sand, Contemporary Voices: From the Asian and
Islamic Art Worlds (Milan: Skira, 2018)
§ Boreth Ly, ‘Broke Body: Situating Trauma in the Visual Cultures of
Cambodia and Its Diaspora,’ in Traces of Trauma: Cambodian Visual Culture
and National Identity in the Aftermath of Genocide (University of Hawai’I
Press, 2020), pp. 12 – 36.
§ Nora A. Taylor, The Southeast Asian Art Historian as Ethnographer?, Third
Text, 25:4, pp. 475 – 488. https://doi.org/10.1080/09528822.2011.587948
Session 18| Monday, 22 March
Exhibition and Artist Case Study: Artist and Empire: (En)countering Colonial
Legacies, National Gallery Singapore & the Work of Wong Hoy Cheong and
Hew Lock
§ Goh Beng Lan, ‘Shifting Debates on Empire: An Overview From Asia,’ in
Artist and Empire: (En)countering Colonial Legacies, Exhibition catalogue,
National Gallery, Singapore, 2016, pp. 37 – 43.§ Michelle Antoinette, ‘The art of race: rethinking Malaysian identity through
the art of Wong Hoy Cheong,’ in Race and Multiculturalism in Malaysia and
Singapore (Routledge, 2009), edited by Daniel P.S. Goh et al., pp. 191 – 212.
§ R. Langenbach, ‘In Conversation with Wong Hoy Cheong,’ in Of Migrants
and Rubber Trees, edited by Valentine Willie (Valentine Willie Fine Arts).
ISBN 83-99143-0-8.
§ Sally Butler, ‘Indigeneity,’ in Visual Global Politics (Routledge, 2018) edited
by Roland Bleiker, p. 27.
§ Kobena Mercer, ‘Hew Locke’s Postcolonial Baroque,’ in Travel & See: Black
Diaspora Art Practices Since the 1980s (Duke Univeristy Press, 2016).
§ Hew Locke and Charles Henry Rowell, ‘An Interview With Hew Locke,’
Callaloo, vol. 37, no. 3 (Summer, 2014), pp. 523 – 548.
Session 19 | Thursday, 25 March
Museum Visit, National Gallery Singapore
Between Declarations and Dreams: Art of Southeast Asia since the 19th Century,
Re:Defining Art (post 1970s) installation
§ Adele Tan, ‘Re:Defining Art: Art in the 1970s and After,’ in Between
Declarations and Dreams: Art of Southeast Asia since the 19th Century,
exhibition catalogue (National Gallery Singapore, 2015), pp. 64 – 84.
§ Michelle Antoinette, Reworlding Art History: Encounters with Contemporary
Southeast Asian art after 1990 (Brill, 2015), pages tbc.
§ Nora A. Taylor, ‘Art without History? Southeast Asian Artists and Their
Communities in the Face of Geography,’ Art Journal (Summer 2011), vol. 70,
no. 2, pp. 6 – 23.
Groups presentations will be based on a tour of the permanent collection of
contemporary Southeast Asian art held by the museum.
Session 20 & 21 | Monday, 29 March & Thursday, 1 April
Group Presentations
Session 22 | Monday, 5 April
Contemporary Aboriginal Art§ Kate McMillan, Contemporary Art and Unforgetting in Colonial Landscapes:
Islands of Empire (Palgrave Macmillan, 2019), pages tbc. NUS ebook
§ Susan McCulloch, ‘Introduction to Contemporary Aboriginal Art,’ in
Contemporary Aboriginal Art: A Guide to the Rebirth of an Ancient Culture,
Second edition (Allen & Unwin, 2001), pp. 15 – 50.
OR
§ Liz Thompson (ed.), Aboriginal Voices: Contemporary Aboriginal Artists,
Writers and Performers (J.B. Books, 1999), pages tbc.
Optional Reading
§ Fred R. Myers, ‘Performing Aboriginality at the Asia Society Gallery,’ in
Painting Culture: The Making of An Aboriginal High Art (Duke Uni Press,
2002), pp. 255 – 276.
§ Eric Venbrux, ‘The Post-Colonial Virtue of Aboriginal Art,’ Zeitschrift für
Ethnologie, Bd. 127, H. 2 (2002), pp. 223-240.
https://www.jstor.org/stable/25842867
§ Brenda L. Croft, Beyond the Pale: Contemporary Indigenous Art: 2000
Adelaide Biennial of Australian Art, Exhibition Catalogue, Art Gallery of
South Australia (2000), pages tbc.
Session 23 | Thursday, 8 April
Contemporary South Asian Diaspora Art
§ ‘Early Contributions by South Asian Artists,’ or ‘South Asian Stories,’ in
Eddie Chambers, Black Artists in British Art: A History Since the 1950s, pp.
25 – 40, or pp. 91 – 104.
§ Shezad Dawood, ‘Black Sun: Alchemy, Diaspora and Heterotopia,’ in Black
Sun: Alchemy, Diaspora and Heterotopia, Arnolfini Gallery Exhibition
Catalogues Series (Ridinghouse, 2014), pp. 4 – 17.
§ Alpesh Kantilal Patel, ‘Authorship: Anish Kapoor as Britihs/Asian/artist, in
Productive Failure: Writing Queer Transnational South Asian Art Histories
(Manchester University Press, 2017), pp. 21 – 38.
One of the two articles on the Singh Twins
§ Saloni Mathur, ‘Diasporic Body Double: The Art of the Singh Twins,’ Art
Journal, Vol. 65, No. 2 (Summer, 2006), pp. 34 – 56. URL:
https://www.jstor.org/stable/20068465§ R. Pal, ‘From A Declining Tradition,’ in Twin Perspectives: Paintings by
Amrit and Rabindra Kaur Singh (Liverpool: Twin Studio, 1999), pp. 8 – 13.
Optional Reading
§ Alice Correia, ‘Zarina Bhimji: Light, Time and Dislocation,’ Third Text, 26:3,
pp. 359 – 363. https://doi.org/10.1080/09528822.2012.679043
§
§ Nafisa Rizvi, ‘The Feminine Construct,’ in The Eye Still Seeks: Pakistani
Contemporary Art, edited by Salima Hashmi (Penguin Studio, 2015).
§ ‘The Ubiquity of the Video Image: Artists’ Video as an International
Phenomenon: Shan Pipe Learns the Star Spangled Banner, Bani Abidi,
Pakistan, 2004,’ in Chris Meigh-Andrews, A History of Video Art, Second
Edition (Bloomsbury, 2014), pp. 248 – 262.
Session 24 | Monday, 12 April
The Work of Black Diaspora Artists
§ Eddie Chambers, ‘The “Black Art” Generation and the 1980s,’ or ‘Artists of
the 1990s Generation,’ in Black Artists in British Art, pp. 105 – 113 or pp. 167
– 183.
§ Eddie Chambers, ‘The Triumphant Triumvirate: Yinka Shonibare, Chris Ofili,
and Steve McQueen, in Black Artists in British Art, pp. 184 – 194.
§ Stuart Hall, ‘Black Diaspora Artists in Britain: Three 'Moments' in Post-War
History,’ History Workshop Journal, no. 61 (Spring, 2006), pp. 1-24.
Optional Reading
§ Salah M. Hassan, ‘Self and Other in Contemporary African Art,’ in Authentic,
Ex-Centric: Conceptualism in Contemporary African Art (Forum for African
Arts: Prince Claus Fund Library, 2001).
§ Manthia Diawara and Sonia Boyce, ‘The Art of Identity,’ Transition, no. 55
(1992), pp. 192-201.
Session 25| Thursday, 15 April
Transnationalism/Globalism and Contemporary Art
§ Ania Loomba, ‘Conclusion: Globalisation and the Future of Postcolonial
Studies,’ Colonialism / Postcolonialism, pp. 213 – 228.§ Peter Weibel, ‘Globalization and Contemporary Art,’ in Hans Belting et al.,
The Global Contemporary and the Rise of New Art Worlds (MIT Press, 2013),
pp. 20 – 27.
§ David Teh, ‘Introduction: The Contemporary and Its Currencies,’ in Thai Art:
Currencies of the Contemporary (MIT Press, 2017), pp. 1 – 18.
§ Arshiya Lokhandwala, ‘Worlding Asia: A Conceptual Framework for the First
Delhi Biennale,’ in InFlux: Contemporary Art in Asia, edited by Parul Dave
Mukerji et al. (Sage Publications, 2013), pp. 37 – 47.
§ June Yap, ‘Undoing the Global: Contemporary Art of Singapore,’ in Charting
Thoughts: Essays on Art in Southeast Asia (Singapore: National Gallery
Singapore, 2017).
Optional Reading
§ Terry Smith, ‘General Introduction: Contemporary Art in Transition: From
Late Modern Art to Now,’ in Contemporary Art: World Currents (Laurence
King Publishing, 2011), pp. 8 -15.
§ Ajay J. Sinha, ‘Contemporary Indian Art: A Question of Method,’ Art
Journal, vol. 58, no. 3 (Autumn, 1999), pp. 31-39.
Monday, 19 May
Written Assignment due (3,000 word essay)You can also read
