Partha Mitter's book is a pioneering study of the history of modern art on the Indian subcontinent from 1850 to 1922. The author tells the story of Indian art during the Raj, set against the interplay of colonialism and nationalism. The work addresses the tensions and contradictions that attended the advent of European naturalism in India, as part of the imperial design for the westernisation of the elite, and traces the artistic evolution from unquestioning westernisation to the construction of Hindu national identity. Through a wide range of literary and pictorial sources, Art and Nationalism in Colonial India balances the study of colonial cultural institutions and networks with the ideologies of the nationalist and intellectual movements which followed. The result is a book of immense significance, both in the context of South Asian history and in the wider context of art history.

Presentations of National Cultures. Fifty-one texts illustrate the evolution of modernism in the east-European region. Essays, articles, poems, or excerpts from longer works offer new opportunities of possible comparisons of the respective national cultures, from the different ideological approaches and finessing projects of how to create the modern state liberal, conservative, socialist and others to the literary and scientific attempts at squaring the circle of individual and collective identities.

Taking an interdisciplinary approach, Michelle Facos links the social and cultural dynamics in turn-of-the-century Sweden to the discourses of primitivism, nationalism, and symbolism. In the process, she sheds new light on a major area of study, the manifestation of modernism in Sweden. These painters - among them Carl Larsson, Anders Zorn, Bruno Liljefors, and Prince Eugen - sought to produce a specifically national Swedish art. They focused on indigenous history, legends, and folk tales as well as customs, values, geography, and ethnography - anything they perceived as uniquely or typically Swedish. Politically progressive and culturally conservative, the National Romantic artists protested against the dangers they perceived in capitalist industrialism and urban expansion and promoted an egalitarian ideology centered on the Swedish/Nordic native culture.

Questioning what the term 'Chinese art' means in the era of global art, this book situates Chinese contemporary art in the matrix of global expositions and political transnationalisms. Its case studies explore the changing political concept of Chineseness by examining performative, body-oriented video and eco-feminist works.

Emerging from a matrix of Old Left, black nationalist, and bohemian ideologies and institutions, African American artists and intellectuals in the 1960s coalesced to form the Black Arts Movement, the cultural wing of the Black Power Movement. In this comprehensive analysis, James Smethurst examines the formation of the Black Arts Movement and demonstrates how it deeply influenced the production and reception of literature and art in the United States through its negotiations of the ideological climate of the Cold War, decolonization, and the civil rights movement. Taking a regional approach, Smethurst examines local expressions of the nascent Black Arts Movement, a movement distinctive in its geographical reach and diversity, while always keeping the frame of the larger movement in view. The Black Arts Movement, he argues, fundamentally changed American attitudes about the relationship between popular culture and "high" art and dramatically transformed the landscape of public funding for the arts.

Catalog of an exhibition held at Balai Seni Lukis Negara, Malaysia.

London-born and reared, Art O'Brien's journey from wealthy electrical engineer to leader of Irish militant nationalism in London was, by any measure, quite extraordinary. This book uses the life of O'Brien (1872-1949) as a central axis on which to construct an analysis of Irish nationalism in London from 1900 to 1925. O'Brien was a member of the Gaelic League, Sinn Féin, the Irish Volunteers, the Irish Republican Brotherhood, and the Irish Self-Determination League of Great Britain. He also established a prisoner relief organization and had significant involvement in gun-running for the 1916 rising and the War of Independence. Appointed London envoy of Dáil Éireann in 1919, he was a close confidant of Michael Collins, Arthur Griffith, and Éamon de Valera, and was a mediator in various peace initiatives between the British and Sinn Féin during 1920 and 1921. Yet, despite his extensive contribution to the Irish revolution, little is known of O'Brien's activities. Based on rigorous research in British and Irish archives, this book recounts the vital contribution O'Brien made to the prosecution of the Irish revolution. It also recounts the hitherto little-known story of Irish cultural, political, and militant nationalism in London between 1900 and 1925.