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"This volume offers a comprehensive perspective on the relationship between the art scene and agencies of the state in countries of the region, throughout four consecutive yet highly diverse historical periods: from the period of state integration after World War I, through the communist era post 1945 and the time of political transformation after 1989, to the present-day globalization (including counter-reactions to westernization and cultural homogenization). With twenty-four theoretically and/or empirically-oriented articles by authors from sixteen countries (East Central Europe and beyond, including the United States and Australia), the book discusses interconnections between state policies and artistic institutions, trends and the art market from diverse research perspectives. The contributors explore subjects such as the impact of war on the formation of national identities, the role of artists in image-building for the new national states emerging after 1918, the impact of political systems on artists' attitudes, the discourses of art history, museum studies, monument conservation and exhibition practices. The book will be of interest to scholars working in art history, cultural politics, cultural history, and East Central European studies and history"--

This project aims to explore the connection between history, memory, political power, and visual art. It aims to contribute insight to how contemporary visual artists, like the filmmaker Jean Luc Godard, and the installation artist Christian Boltanski, confront politics through the reformation of collective memory. In their case the memory and history that they evoke are connected to Second War World and the Holocaust. In a very schematic way I will try to describe their role as a provider of a sight; a sight of the political struggle. I structured our investigation of Boltanski and Godard's works around three general questions on art, history and power. These questions provided a point of departure for my exploration, and helped with the formation of my arguments. At first, I tried to understand the presence of history in both Boltanski's and Godard's works. As I explained in this project, their motivations come from different reasons and events. Above all, as I have presented in this project, these artists use history in order to understand the conditions of the present moment. Therefore, I will argue that both Boltanski and Godard are historians of the present. Secondly, it was important for me to understand their specific use of the Holocaust and Auschwitz in their works. Here we notice how this event is perceived, as a reflection of social structures, and our understanding of the way power operates has grown accordingly. In this respect, Boltanski and Godard's works fall, both directly and indirectly, under the theoretical framework formulated by Michel Foucault, Adi Ophir, and Giorgio Agamben. The third question relates specifically to the art world and art practice, focusing on the attempt to expose how artistic methods and technique function as apparatuses of power. In other words, I wanted to understand and expose how power suffuses art through artistic practices. Here, I followed Godard's own investigation of cinematic montage, and Boltanski's challenges of archival practice. Therefore, it was through their paradigms that I was able to consider alternatives

In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about "contemporaneity" in relation to art history is the main topic of this paper, which departs from Panofsky's 1934 review of a book on modern art. In his review of James Johnson Sweeny's book Plastic Redirections in 20th Century Painting, Panofsky's praise for Sweeney's scholarly "distance" from contemporary art developments in Europe is backed by a claim for America's cultural distance, rather than a (historical) removal in time. Taking a closer look at Panofsky's conflation of historical/temporal distance with geographical/cultural distance, this paper demonstrates a politically situated discourse on contemporaneity, in which Panofsky proposes the act of writing about the contemporary as a redemptive act, albeit, as this paper will demonstrate, without being able to follow his own scientific method.

In this article, Healoha Johnston considers how five contemporary artists describe the interconnectivity of the environment and aloha ʻāina through their work. Recent installations and exhibitions featuring artwork by Bernice Akamine, Maile Andrade, Sean Browne, Imaikalani Kalahele, and Abigail Romanchak engage issues of sustainability, articulate genealogical connections to ʻāina, and decribe the possibilities for regenerative relationships to ʻāina through materials, form, and content. This essay considers the impact of the 1970s Hawaiian Renaissance as a cultural and political movement that re-centered the relationship between Kānaka and ʻāina, and catalyzed Hawaiʻi's contemporary art scene with a political dimension that visualized Kanaka ʻŌiwi resurgence.

Frontmatter -- CONTENT -- Art and Global Migration. Theories, Practices, and Challenges / Dogramaci, Burcu / Mersmann, Birgit -- Migratory Challenges for Art Production and Art History -- Toward a Migratory Turn / Dogramaci, Burcu -- From Global Turbulences to Spaces of Conviviality / Papastergiadis, Nikos / Trimboli, Daniella -- The Migrant Image / Nail, Thomas -- Immigrants, Refugees and the Arts / Martiniello, Marco -- Aesthetics and Art Practices of Migration -- Close Encounters / Bal, Mieke -- Fuocoammare and the Aesthetic Rendition of the Relational Experience of Migration / Dasgupta, Sudeep -- Paths Walked Twice / Gutberlet, Marie-Hélène -- Women, Art, Migration and Diaspora / O'Neill, Maggie -- Migratory Networks. Objects and Actors on the Route -- On Nomadic Textile Forms - The Aesthetic of Nomadic Textiles / Haehnel, Birgit / Reichstein, Sascha -- Cosmopolitan Nodes and Vectors / Lee, Rachel -- Photodocumentaries of Global Migration / Mersmann, Birgit -- Climates of Displacement / Demos, T. J. -- Places, Spaces, and Boundaries of Migration -- The Place of Faith / James-Chakraborty, Kathleen -- The Migratory Living Room / Dogramaci, Burcu -- Of Inner Cities and Outer Space / Pinther, Kerstin -- Histories and Memories of Migration -- Memory. Belonging. Engaging. / Bublatzky, Cathrine -- Migration, Dispossession, Post-Memorial Recuperations / Juneja, Monica -- Migration on Display / Ulz, Melanie -- Exhibiting Voids / Lanz, Francesca / Whitehead, Christopher -- Beyond Migration. Post-migratory Concepts and Strategies -- When Migration Turns from the Spectacular to the Ordinary / Moslund, Sten Pultz -- Migration and Postmigration as New Frameworks for Art Theory / Petersen, Anne Ring -- Postmigrant Practices of Living as Resistance / Yildiz, Erol -- The Postmigrant Condition in Fashion, Culture and Fashion Theory / Gaugele, Elke -- IMAGE CREDITS -- BIOGRAPHIES OF THE AUTHORS -- INDEX