The noble art of the chase in the Arab world

Sir Terence Clark is a Council Member of the Society. He retired from the Diplomatic Service after a distinguished career spent mainly in the Middle East, where he was Ambassador to Iraq and Oman, and is the author of many articles in specialist journals on hunting and co‐author of The Saluqi: Coursing Hound of the East (1995), Dogs in Antiquity (2001) and Oman in Time (2001). This article is based on a lecture delivered to the Society on 23 October, 2002.     

The official art of the Khrushchev Thaw: The Severe Style as an ambassador of the Estonian national school at Baltic art exhibitions in Moscow

In Estonian post-Socialist art history writing, the term ‘national’ has mostly been introduced as a defense mechanism against the Soviet regime. The aim of this article is to indicate that concept ‘national’ also played quite an important role in ‘official’ Soviet cultural politics, especially after Stalin’s death. The processes of cultivating ‘national particularities’ in the arts will be exemplified by the Baltic exhibitions in Moscow in the end of 1950s and 1960s.     

African tourist art as tradition and product of the postcolonial exotic

ABSTRACT

Figurative art made in Central and West Africa for the global market is a form of tourist art – a category that has been plagued in art historical research by misconstrued concepts such as the authenticity of traditional/precolonial art. Following its categorisation as a commodity, studies focused on the decontextualisation of the object, thus marginalising the producing culture. In this article I investigate the role of the artist in preserving tradition and the role of the trader who, as cultural broker, exoticises the object. Since it can be argued that these are acts of decolonising, African tourist art can be regarded as a product of the postcolonial exotic, as defned by Graham Huggan (2001). Accepting the inescapability of postcoloniality, tourist art can be repositioned as a successful attempt to preserve and promote African cultural traditions and identity in the new era.     

Postcolonial theory as a means to understand Estonian art history

ABSTRACT

This article analyzes Estonian art scene in the Soviet era from the postcolonial perspective. The first objective is to consider whether it is appropriate to call the Soviet occupation of Estonia colonialism. Second, the article points to how postcolonial theory can elucidate the history of Estonian visual art during and after the Soviet occupation. The period of Soviet colonialism in Estonia was not uniform; in the fine arts, several different rhetorical regimes existed simultaneously: pro-authority, Western avant-garde orientated, and a national-conservative discourse. The article also investigates how the Soviet colonial situation shaped the institutional and economic environment of Estonian art.