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Department of Education Academic Memberships Middle East Studies Association of North America Historians of Islamic Art Association Association for Modern and Contemporary Art of the Arab World, Iran and Turkey. Katrin Nahidi c. Heba Amin c. Philip Geisler c.

Gabriela Seith c. She works at the intersection between art history, Islamic art historiography, museum history, and critical theory. Rather than conceiving of the non-Western present against the backdrop of supposedly authentic, homogenous, and undiluted traditions, this project focuses on the historiographic construction of art and visual culture as intertwined agents and expressions of sociopolitical modernization.

It proposes art and performance as parallel arenas through which cultural identity comes to be perceived neither as a search for roots nor a striving for Westernization, but as a process of coming-into-being within a framework of shifting cultural and political hegemonies. The notion of modernity as a phenomenon that destroys the present in order to build a new future - a tabula rasa phenomenon completely opposed to tradition — is particularly complicated in the case of non-Western settings.

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Whereas in the West, where the conceptualization of 'the modern' as a post- Enlightenment project of utopian rationality responded against existing traditions, sublimating them into new forms, elsewhere modernization was often understood as erasing local culture in favor of a template borrowed from the West.

For example, in much of the Arab world of the early twentieth century, the word ruwwad, pioneers, was used to designate modern artists, as if they were acting in a barren desert rather than in an already rich and vital cultural context. Historiographies of non-Western arts have often followed such a model, viewing artistic production as a belated import rather than a complex part of ongoing cultural change and local processes of modernization.

Consequently, 'tradition,' viewed in opposition to modernity, has often been understood as already finished and only available for revival, even when existing practices have survived into the present, particularly in forms of performance associated with indigenous or rural peoples.

Thus the fine arts, associated with modernity, and 'traditional' arts, often commodified in the production of nostalgia or marketed for tourists, serve together as a means of simplifying the complex processes of cultural mixing that this project seeks to unravel.

By bringing together the study of cultural production, its preservation, and its commodification, this project aims to reinscribe the agency of artists, arts institutions, and commodity production in the history and analysis of non-Western culture as a socio-political phenomenon.

To this end, the project will: - study the historiographic divergence between the study of pre-modern non-Western arts and the relative inattention paid to the modern era. It thus aims to establish a paradigm for the study of the modern art as opposed to much more popular contemporary art of the non-West, a geo- temporal phenomenon generally excluded from art historical consideration, but nonetheless central to understanding tropes of national identity construction that extend to the present.

Rather than conceiving of the visual arts within a domain of elite practice or connoisseurial success, it examines art as a document of modern identity production in line with other visual practices such as clothing or advertising. On the one hand, in regions as disparate as the Ottoman Empire, Japan, India, and Latin America, European and local scholars and artists began to recognize aspects of local visual traditions that could be contextualized and historicized under the rubric of art.

On the other, artists studying in Europe and newly founded art academies in the non-West began to produce art in the Western modality, particularly oil painting and sculpture, over much of the globe. Although generally, the birth of non-Western art histories and that of non-Western modern art have been conceived as disparate phenomena, their historical covalence and their reliance on the same community of scholars and artists suggest that together, they represent what might be called a hybrid moment: a temporally delimited position that can take place at various historical times in which the problematic hybrid of modern non-Western culture emerges, and in the process enables the differentiated perception of modernity and tradition through the definition of their mutual alterity.

This research module will investigate the social and political implications of arts produced at this hybrid moment through interdisciplinary, cross-cultural, and cross-temporal perspectives. It proposes that, far from antagonistic, the possibility of creating local modern and contemporary art relies on the covalent historicization of traditional forms through art historical writing.

The invited scholars will discuss the relationships between Islam, Muslim culture, and modernity as they are reflected in contemporary art. In recent years, museums around the world have renovated permanent collections of historic Islamic art or opened new ones. The works of contemporary artists from Islamic cultures are met with even greater international interest.

The market for art dealing with today's legacies of Islam is growing rapidly. The focus was on understanding the conditions for using the past in negotiations that recreate citizenship, and on the understanding of layers of territorial belonging. The research was conducted through multi-disciplinary collaboration between eight leading university institutions.

The project aimed to create a platform in an area where research so far had been scattered and fragmented. Previous research on national museums had often been based on individual case studies and often single disciplinary areas, such as art history and archaeology.