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• Usages du monde (Christine Peltre)
• La tradition renouvelée du voyage d'artiste
• Lieux, destinations et circulations: pratiques du voyage
• Harriet Hosmer. L'itinéraire d'une sculptrice américaine à Rome au XIXe siècle (Nicolas Bourguinat)
• Nomades du verre (Jean-Louis Hess)
• Dans les pas des artistes en voyage. Souvenirs égotistes (Jean-François Robic)
• Le nomadisme alternatif d'Ant Farm (Caroline Tron-Carroz)
• Les artistes français à la conquête des États-Unis... en voyages organisés (Hélène Trespeuch )
• Rencontres, regards: expériences artistiques de l'altérité et du voyage
• Land art et environnement d'art: architectures du voyage (Florent Schmitt)
• Voyage aux marges, voyage social: Picasso et compagnie à Montmartre (Claire Le Thomas)
• Sensations de voyages à travers des oeuvres vidéographiques : Corps flottants de Robert Cahen et Hatsu Yume (First Dream) de Bill Viola (Tiphaine Larroque)
• Labyrinthes de la mémoire: le voyage entre réel et imaginaire dans l'oeuvre d'Anne Muller-Lassez (Frank Muller)
• François-Marie Rosset, Peintre voyageur en Turquie d'Asie (Marie-Liesse Pierre)
• Du voyage au carnet de voyage
• Le carnet de voyage contemporain : livres d'artiste et "installations-itinéraires" (Pascale Argod)
• Un fonds de livres d'artistes (Anne Costa)
• Pages de carnets de voyage en Australie (Pascal H. Poirot).

This volume records impressions of life on the 19th- and early-20th-century American frontier by 21 artists better known for their paintings, sculptures and photographs. Most, but not all, of the selections come from journals or diaries kept during trips to the West.
(source: Nielsen Book Data)

• Introduction
• Part I: Mobility in Vasari's Lives
• Mobility and the problem of "influence"
• Contamination, stasis, and purging
• Deluge, difference, and dissemination
• Artifex Viator
• Part II: The path and limits of Varietà
• Varietà and the middle way
• The domain of style
• The mobile eyewitness
• Mobility, the senses, and the elision of style
• Epilogue.

This important and innovative book examines artists' mobility as a critical aspect of Italian Renaissance art. It is well known that many eminent artists such as Cimabue, Giotto, Donatello, Lotto, Michelangelo, Raphael, and Titian traveled. This book is the first to consider the sixteenth-century literary descriptions of their journeys in relation to the larger Renaissance discourse concerning mobility, geography, the act of creation, and selfhood. David Young Kim carefully explores relevant themes in Giorgio Vasari's monumental Lives of the Artists, in particular how style was understood to register an artist's encounter with place. Through new readings of critical ideas, long-standing regional prejudices, and entire biographies, The Traveling Artist in the Italian Renaissance provides a groundbreaking case for the significance of mobility in the interpretation of art and the wider discipline of art history.
(source: Nielsen Book Data)

This important and innovative book examines artists' mobility as a critical aspect of Italian Renaissance art. It is well known that many eminent artists such as Cimabue, Giotto, Donatello, Lotto, Michelangelo, Raphael, and Titian traveled. This book is the first to consider the sixteenth-century literary descriptions of their journeys in relation to the larger Renaissance discourse concerning mobility, geography, the act of creation, and selfhood. David Young Kim carefully explores relevant themes in Giorgio Vasari's monumental Lives of the Artists, in particular how style was understood to register an artist's encounter with place. Through new readings of critical ideas, long-standing regional prejudices, and entire biographies, The Traveling Artist in the Italian Renaissance provides a groundbreaking case for the significance of mobility in the interpretation of art and the wider discipline of art history.
(source: Nielsen Book Data)

• Reading Choiseul in the gaps of the orientalist archive
• In the shadow of les grands : Cassas's orientalist self-fashioning
• The translator's art : Mouradgea d'Ohsson, Ottoman dragoman in Paris
• Miniatures in black and white : Melling's Istanbul
• Skin of nation, body of empire : Louis Dupré in Ottoman Greece
• A painter's renunciation : Delacroix in North Africa.

"Focusing on travel images and cross-cultural exchange, examines interactions between the Ottoman Empire and Europeans from 1774 to 1839, highlighting mutual dependence and reciprocity"--Provided by publisher.

When Henry Hemming set out in a pick-up truck called Yasmine to make a portrait of the Middle East, he had no idea what he would find or where he would be able to go - he wasn't even sure how he would earn enough money to stay on the road for a year. Henry Hemming's extraordinary journey takes him from the drug-fuelled ski-slopes of Iran via some of the region's secret beaches, palaces, army barracks, police cells, nightclubs, torture chambers, brothels and artists' studios to a Fourth of July party with American GIs in one of Saddam's former palaces. Everywhere he goes his status as artist gets him into places he would not have been allowed otherwise. As the invasion of Iraq intensifies, he realises that to finish his portrait of the region he must go to Baghdad and find the artistic renaissance there that he has heard about. In so doing he will risk his life. Throughout, he meets young people who share their dreams, doubts and passions, revealing a young and unpredictable Middle East that flies beneath the radar of nightly news bulletins. In these meetings, he also begins to understand what he himself represents, be it British spy, Muslim extremist, jihadi, tramp, bohemian, street-cleaner, Baghdadi, or, from time to time, artist. "Misadventure in the Middle East" offers a unique, evocative and highly original account of his journey.
(source: Nielsen Book Data)

• List of Illustrations ix Acknowledgments xiii Introduction
• 1
• 1. The Word for World and the Word for History Are the Same: Jimmie Durham, the American Indian Movement, and Spatial Thinking
• 16
• 2. Now That We Are Christians We Dance for Ceremony: James Luna, Performing Props, and Sacred Space
• 61
• 3. They Sent Me Way Out in the Foreign Country and Told Me to Forget It: Fred Kabotie, Dance Memories, and the 1932 U.S. Pavilion of the Venice Biennale
• 94
• 4. Dance Is the One Activity That I Know Of When Virtual Strangers Can Embrace: Kay WalkingStick, Creative Kinship, and Art History's Tangled Legs
• 123
• 5. They Advanced to the Portraits of Their Friends and Offered Them Their Hands: Robert Houle, Ojibwa Tableaux Vivants, and Transcultural Materialism
• 152 Epilogue: Traveligng with Stones
• 184 Notes
• 197 Bibliography
• 249 Index 283.
• (source: Nielsen Book Data)

In Art for an Undivided Earth Jessica L. Horton reveals how the spatial philosophies underlying the American Indian Movement (AIM) were refigured by a generation of artists searching for new places to stand. Upending the assumption that Jimmie Durham, James Luna, Kay WalkingStick, Robert Houle, and others were primarily concerned with identity politics, she joins them in remapping the coordinates of a widely shared yet deeply contested modernity that is defined in great part by the colonization of the Americas. She follows their installations, performances, and paintings across the ocean and back in time, as they retrace the paths of Native diplomats, scholars, performers, and objects in Europe after 1492. Along the way, Horton intervenes in a range of theories about global modernisms, Native American sovereignty, racial difference, archival logic, artistic itinerancy, and new materialisms. Writing in creative dialogue with contemporary artists, she builds a picture of a spatially, temporally, and materially interconnected world-an undivided earth.
(source: Nielsen Book Data)

• Preface-- Introduction: Women's artistic passages, Dianne Sachko Macleod-- With palettes, pencils, and parasols: Victorian women artists traverse the Empire, Susan P. Casteras-- Borders and boundaries, perspectives and place: Victorian women's travel writing, Maria H. Frawley-- 'We Got Upon Our Elephant & Went Out After Subjects': Capturing the World in Watercolor, Jordana Pomeroy-- 'A dream of beauty': inscribing the English garden in Victorian India, Romita Ray-- Women and the Natural World: Expanding Horizons at Home, Ann B. Shteir-- Shifting continents, shifting species: Louisa Anne Meredith at 'Home in Tasmania', Barbara Gates-- Emma MacPherson in the 'Blacks' Camp' and other Australian interludes: a Scottish lady artist's tour in New South Wales in 1856-57, Caroline Jordan-- Cameron's colonized Eden: picturesque politics at the edge of the Empire, Jeff Rosen-- Bibliography-- Index.
• (source: Nielsen Book Data)

Despite the increased visibility of Victorian women artists in museum exhibitions and historical studies, the art produced by Victorian women has been viewed through a restrictive lens. Scholars have focused on works produced for the marketplace, but have overlooked art created and displayed outside of established venues and institutions of higher learning. Drawing upon sketches, paintings, and photographs, "Intrepid Women: Victorian Artists Travel" is a groundbreaking study that examines the art that women produced whilst traveling, as well as the circumstances that took these artists - both amateurs and professionals - far beyond the reaches of the traditional Grand Tour. Traveling throughout the British Empire, including the Middle East, India, Canada, and North Africa, and even to the Americas, the artists adapted to new climes and foreign cultures partially by documenting the unfamiliar through their art, sometimes at great physical risk. This volume of essays offers fresh evidence that through their travel and art, women extended both geographic and social boundaries. Each author presents evidence that women overcame institutional as well as cultural obstacles to improve their artistic skills and to use their art to convey worlds most British citizens would never see for themselves.
(source: Nielsen Book Data)

• Introductory Texts
• Essays
• Geography
• Man & Nature
• Expeditions.