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The indigenous peoples of the Pacific nations of Vanuatu and New Zealand are reconfiguring global cultural and intellectual property regimes as they successfully advance claims to ancestral practices such as ephemeral sand drawings.

Natasha Eaton theorizes the relationship between art and empire through analysis of the interconnected visual cultures of British and Mughal empires in eighteenth- and nineteenth-century India.

Prompting a reevaluation of canonical understandings of twentieth century art history, Mapping Modernisms provides an analysis of how indigenous artists and art from Africa, Oceania, and the Americas became recognized as modern.

Moving the critical debate about photography away from its Euro-American center of gravity, this title breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals.

Presents a pioneering exploration of Asian American visual art. This title focuses on works produced during the watershed 1990s, when surging Asian immigration had significantly altered the demographic, cultural, and political contours of Asian America, and a renaissance in Asian American art and visual culture was well underway.

A generously illustrated ethnography arguing that popular photographic practices have played a crucial role in the making of modern national subjects in postcolonial Java.

The photographs of Aborgines taken at Coranderrk Station were circulated across the western world and were mounted in exhibition displays and classified among other ethnographic "data" within museum collections. This book reveals how western society came to understand Aboriginal people through these images.

A beautifully illustrated look at the aesthetics and implications of the visual images used to sell Jamaica and the Bahamas to tourists as "tropical paradises" from the 1880s through the 1930s.