Hostname: page-component-cd9895bd7-jkksz Total loading time: 0 Render date: 2024-12-22T19:12:58.587Z Has data issue: false hasContentIssue false

Art Historians and Cultural Property Internationalism

Published online by Cambridge University Press:  15 August 2005

Nora Niedzielski-Eichner
Affiliation:
Department of Art and Art History, Stanford University. Email: [email protected]

Abstract

This article responds to John Merryman's article on cultural property internationalism in the last issue of the International Journal of Cultural Property (IJCP). It considers the increasing, although still limited, role that art historians working out of universities play in the debates around the ownership of cultural property. Although there are a number of principles embedded in cultural internationalism that are still widely supported, art historians seem to be moving away from cultural property internationalism. One reason for the increasing critique of cultural property internationalism is the rise of scholarship that questions traditional art history and its relationship to colonialism.

Type
RESPONSE ARTICLES
Copyright
© 2005 International Cultural Property Society

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Amor, Monica, et al. “Liminalities: Discussions on the Global and the Local.” Art Journal 57, no. 4 (1998): 2849.Google Scholar
Atwood, Roger. “Peru Presses Yale for Inca Objects.” ART News 103, no. 9 (2004).Google Scholar
Barringer, Tim, and Tom Flynn, ed. Colonialism and the Object: Empire, Material Culture and the Museum. London: Routledge, 1998.
Berlo, Janet, and Ruth Phillips. “Our (Museum) World Turned Upside Down: Re-Presenting Native American Arts.” Art Bulletin 77 (March 1995).Google Scholar
Biemann, Ursula. “Outsourcing and Subcontracting: Curatorial Practice in the Post-Colonial Space.” In Been There and Back to Nowhere, pp. 27891. Berlin: b_books, 2000.
Bonami, Francesco, et al. “Global Tendencies: Globalism and the Large-Scale Exhibition.” Artforum, (November 2003).Google Scholar
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Buchloh, Benjamin H. D.The Whole Earth Show.” Art in America 77 ( May 1989).Google Scholar
Clark, T. J. The Painting of Modern Life: Paris in the Art of Manet and His Followers. New York: Knopf, 1985.
Enwezor, Okwui. Documenta 11, Platform 5: Short Guide. Ostfildern-Ruit : Hatje Cantz, 2002.
Fanon, Frantz. Black Skin, White Masks, translated by Charles Lam Markmann. New York: Grove Press 1967.
Feliciano, Hector. The Lost Museum: The Nazi Conspiracy to Steal the World's Greatest Works of Art. New York: BasicBooks, 1997.
Fisher, Jean, ed. Global Visions: Towards a New Internationalism in the Visual Arts. London: Kala Press in association with the Institute of International Visual Arts, 1994.
Fitzgerald, Michael. “Next Year's Models.” Art Bulletin 79 (March 1997).Google Scholar
Greenberg, Clement. The Collected Essays and Criticism, edited by John O'Brian. Chicago: University of Chicago Press, 1986.
Kemp, Martin. “The ‘Guidelines for the Professional Practice of Art History’ Issued by the Association of Art Historians in Great Britain.” International Journal of Cultural Property 1, (1992): 239251.Google Scholar
Lee, Pamela. “Boundary Issues: The Art World Under the Sign of Globalism.” Artforum (November 2003).Google Scholar
Martin, Jean-Hubert. Magiciens de la Terre. Paris: Centre Georges Pompidou, 1989.
Mayer, Martin. “New Code of Ethics for Art Historians.” Art News 73 (Summer 1974).Google Scholar
Merryman, John H.Cultural Property Internationalism.” International Journal of Cultural Property 12 (2005): 1139.Google Scholar
Mosquera, Gerardo, ed. Beyond the Fantastic: Contemporary Art Criticism from Latin America. Cambridge, Mass.: MIT Press, 1996.
Nicholas, Lynn H. The Rape of Europa: The Fate of Europe's Treasures in the Third Reich, and the Second World War. New York: Alfred A. Knopf, 1994.
Nochlin, Linda. “Why Have There Been No Great Women Artists?Women, Art, Power: and Other Essays, 145178. New York: Harper & Row, 1988.
Quatremère de Quincy, Lettres Sur Le Projet D'Enlever Les Monumens de L'Italie, Rome: V. L., 1815.
Said, Edward. Orientalism. New York: Pantheon Books, 1978.
St. Clair, William. Lord Elgin and the Marbles. Oxford: Oxford University Press, 1998.
Steiner, Christopher B. African Art in Transit. Cambridge: Cambridge University Press, 1994.
Thompson, Robert Ferris. Flash of the Spirit: African, and Afro-American Art and Philosophy. New York: Random House, Inc., 1983.
Trienens, Howard J. Landscape with Smokestacks: The Case of the Allegedly Plundered Degas. Evanston: Northwestern University Press, 2000.
Wölfflin, Heinrich. Principles of Art History: The Problem of the Development of Style in Later Art, translated by M. D. Hottinger. New York: Holt, 1932.