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Art and Human Rights: Contemporary Asian Contexts Caroline Turner and Jen Webb

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Art and Human Rights: Contemporary Asian Contexts Caroline Turner and Jen Webb Art and Human Rights: Contemporary Asian Contexts Caroline Turner and Jen Webb Select Bibliography on Asian Art and Global Art Ades, Dawn, Benton, Tim, Elliott, David and Boyd Whyte, Ian (eds). Art and Power: Europe under the Dictators 1930-45 (London:Hayward Gallery, 1996). Antoinette, Michelle. Reworlding Art History: Encounters with Contemporary Southeast Asian Art after 1990 (Amsterdam & New York:Brill Academic Publishers, 2015). Antoinette, Michelle and Turner, Caroline (eds). Contemporary Asian Art and Exhibitions: Connectivities and World-Making (Canberra: ANU Press, 2014). Antoinette, Michelle. 'Different Visions: Contemporary Malaysian art and exhibition in the 1990s and beyond', revised and republished in Yong, Beverly & Nur Hanim Khairuddin (eds). Narratives in Malaysian Art Volume II: Reactions - New Critical Strategies, (Kuala Lumpur: RogueArt, 2013). Antoinette, Michelle. 'Intimate Pasts Resurrected and Released: Sex, death, and faith in the art of Jose Legaspi', Biography - an interdisciplinary quarterly, vol. 31, no. 1, 2008, pp. 133-160. Antoinette, Michelle. ‘The Art of Race: Rethinking Malaysian Identity Through the Art of Wong Hoy Cheong’, in Goh, Daniel P. S., Gabrielpillai, Matilda, Holden, Philip and Khoo, Gaik Cheng (eds). Race and Multiculturalism in Malaysia and Singapore (London: Routledge, 2009) pp.191-212. Asia Art Archive & Art Map Ltd. ‘All You Want To Know About International Art Biennials’, http://www.aaa.org.hk/onlineprojects/bitri/en/didyouknow.aspx#fn1 Asia-Pacific Triennial. Catalogues of the First, Second, Third, Fourth, Fifth, Sixth, Seventh and Eighth Asia-Pacific Triennial of Contemporary Art, (Brisbane: Queensland Art Gallery, 1993–2015). Asia-Pacific Triennial. http://www.apt3.net (Third APT). Asia Research Institute & National University of Singapore. ‘Our Modernities: Positioning Asian Art Now’, international conference, Singapore, February 2004. Online conference papers: http://www.ari.nus.edu.sg/conf2004/asianart.htm Barnes, Carolyn. ‘Aesthetics and Memory Work in the Recent Painting of John Young’, John Young: The Bridge and the Fruit Tree (Canberra: Drill Hall Gallery, ANU, 2013). Barnes, Carolyn. John Young (Sydney: Craftsman House, 2005) Bauer, Uta Meta and Hanru, Hou (eds). Shifting Gravity: World Biennial Forum No 1 (Ostfildern: Hatje Cantz, 2013). Berghuis, Thomas.‘Safety Zone: Resistance as an Act of Humanity’, John Young: Projects (2010), www.johnyoungstudio.com/cms/resources/berghuis.pdf. Berghuis, Thomas.‘Safety Zone’, Anna Schwartz Gallery, 2010, www.annaschwartzgallery.com/works/artist_exhibitions?artist=30&year=2010&work=12542&exh ibition=344&page=1&text=1&c=m. Berghuis, Thomas. Performance Art in China (Hong Kong: Timezone 8 Limited, 2006) 1 Belting, Hans. ‘Contemporary Art as Global Art: A Critical Estimate’, in The Global Art World: Audiences, Markets, and Museums, Belting, Hans & Buddensieg, Andrea (eds). (Ostfildern: Hatje Cantz, 2009). Belting, Hans and Buddensieg, Andrea (eds). The Global Art World: Audiences, Markets and Museums (Ostfildern: Hatje Cantz, 2009). Bennett,Jill.Practical Aesthetics: Events,Affects and Art after 9/11 (London and New York:I.B. Tuaris,2012). Bennett, Jill. Empathic vision: affect, trauma, and contemporary art (Stanford: Stanford University Press, 2005). Berman, Laine. ‘The Art of Street Politics in Indonesia’, in Lindsey, T. and O’Neill, H. (eds). Awas! Recent Art from Indonesia (Melbourne: Indonesian Arts Society, 1999), pp. 75–84. Bhabha, Homi .‘Conversational Art’, in Jacobs, Mary Jane with Brenson, Michael (eds). Conversations at the Castle: Changing Audiences and Contemporary Art (Cambridge MA: MIT Press, 1998), pp. 38–47. Bianpoen, Carla, Wardani, Farah, Dirgantoro, Wulan, Supriyanto, Enin. Indonesian Women Artists: The Curtain Opens (Jakarta: Yayasan Seni Rupa Indonesia, 2007). Bianpoen, Carla. ‘Vasan Sitthiket: Expressing anger through “Red Planet”’, Jakarta Post (15 March 2008), www.thejakartapost.com/news/2008/03/15/vasan-sitthiket-expressing-anger-through- 039red-planet039.html. Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012). Bishop, Claire. ‘The Social Turn: Collaboration and Its Discontents’, ArtForum (February 2006), pp. 178–83. Bishop, Claire. ‘Antagonism and Relational Aesthetics’, October (Fall 2004, No. 110): pp.51–79. Bishop, Claire. (ed). Participation (Cambridge, MA: MIT Press, 2006). Blazwick, Iona. (ed). Century City: Art and Culture in the Modern Metropolis (London: Tate Gallery, 2001). Bloom, Lisa. ‘Gender, Race and Nation in Japanese Contemporary Art and Criticism’, N. Paradoxa v (2000), pp. 35–43. Blum, Peter. ‘Kimsooja: A Mirror Woman’, Artnet. 2002, www.artnet.com/galleries/peter- blum/kimsooja-a-mirror-woman/. Bose, Santiago.‘A Savage Look at Indigenous Art: Notes in Transit’, Gallery of Philippine Contemporary Art, http://www.kulay-diwa.com/santiago_bose Bourdieu, Pierre. Acts of Resistance: Against the New Myths of our Time, trans. by Richard Nice (London: Polity, 1998). Bourriaud, Nicolas. Relational Aesthetics (Dijon: Les Presses du réel, 2002; Esthétique relationnelle 1998). 2 Brandon, Laura. Art & War (London: I.B. Tauris, 2007). Brown, Kathryn. Interactive Contemporary Art:Participation in Practice (London:IB Tauris, 2014). Brown, Lyndell, Green, Charles and Cattapan, Jon. Framing conflict : contemporary war + aftermath (South Yarra, Victoria: Macmillan Art Publishing, 2014). Butt, Faiza. ‘Diaspora: Of Beards and Bodies’, Interview in ArtNow: Contemporary Art of Pakistan (November 2011), www.artnowpakistan.com/Profile/DiasporaOfBeardsandBodies-214.html#.U- 7nXMIcSpo . Butt, Zoe. ‘Archiving Fear in the Struggle against Forgetfulness’, in Dinh Q. Lȇ: Erasure. (Sydney: Sherman Contemporary Art Foundation, 2011). Bydler, Charlotte. The Global Art World, Inc.: On the Globalization of Contemporary Art (Uppsala: Acta Universitatis Upsaliensis, 2004). Carroll, Alison. The Revolutionary Century: Art in Asia 1900–2000 (South Yarra: Macmillan Australia, 2010). Cemeti. 25 Years of Cemeti (Yogyakarta: Cemeti Art House, 2013). Chiu, Melissa & Genocchio, Benjamin (eds). Contemporary Art in Asia: A Critical Reader.(Cambridge, MA & London, England:MIT Press,2011). Christanto, Dadang , Wiyanto, Hendro and Bentara Budaya Jakarta, Kengerian tak Terucapkan=The Unspeakable Horror (Darwin, NT: Dadang Christanto, 2002) Christov-Bakargiev, Carolyn, Appadurai, Arjun and Huyssen, Andreas (eds). Nalini Malani: In Search of Vanished Blood (Ostfildern: Hatje Cantz and Kassel: DOCUMENTA und Museum Fridericianum, 2012). Clark, Christine (ed). Beyond the Self: Contemporary Portraiture from Asia (Canberra: National Portrait Gallery, 2012). Clark, Christine.‘Distinctive Voices: Artist Initiated Spaces and Projects’in Turner, Caroline (ed.). Art and Social Change: Contemporary Art in Asia and the Pacific (Canberra: Pandanus Books, 2005, pp. 554–68). Clark, John. Bibliography of Asian Modern and Contemporary Art to 2011: http://www.arts.usyd.edu.au/departs/arthistory/Courses%202002/pdf/Bibliograph y.pdf Clark, John.‘The Worlding of the Asian Modern’, in Antoinette, Michelle and Turner, Caroline (eds). Contemporary Asian Art and Exhibitions: Connectivities and World-Making (Canberra: ANU Press, 2014). Clark, John. Chinese Art at the End of the Millennium (Hong Kong: New Art Media, 2000). Clark, John. Asian Modernities: Chinese and Thai Art Compared, 1980 to 1999 (Sydney: Power Publications, 2010). Clark, John.(ed.). Chinese Art at the End of the Millennium (Hong Kong: New Art Media, 2000). Clark, John. Modern Asian Art (Sydney: Craftsman House G+B Arts International, 1998). 3 Clark, John. (ed.). Modernity in Asian Art, The University of Sydney East Asian Studies Number 7 (Sydney: Wild Peony, 1993). Clark, John. ‘Open and Closed Discourses of Modernity in Asian Art’, in John Clark (ed.).Modernity in Asian Art (Sydney: Wild Peony, 1993), pp.1–17. Colah, Zasha and Pijnappel, Johan (eds) with Christov-Bakargiev, Carolyn, Appadurai, Arjun and Huyssen, Andreas. Nalini Malani: In Search of Vanished Blood, (Kassel: documenta 13 and Ostfildern :Hatje Cantz, 2012). Dalmia, Yashodhara and Hashmi, Salima.Memory, Metaphor, Mutations: Contemporary Art of India and Pakistan (New Delhi: Oxford University Press, 2007). Dang Thi Khue, ‘Contemporary Vietnamese Art: A New Stage’, in Beyond the Future: The Third Asia-Pacific Triennial of Contemporary Art (Brisbane: Queensland Art Gallery, 1999), p. 162. Dansker, Jo-Anne Birnie, Lum, Ken & Shentian, Zheng (eds). Shanghai Modern 1919-1945, (Ostfildern:Hatje Cantz, 2004). Desai, Vishakha (ed.). Asian Art History in the Twenty-First Century. (Williamstown,MA:Sterling and Francine Clark Institute, 2007). DiPietro, Monty .‘How to Use Women’s Body at Ota Fine Arts’, Assembly Language Reviews 2000, www.assemblylanguage.com/reviews/Shimada.html. DiPietro, Monty. ‘Artist Builds from Zero’, Japan Times (11 August 2008), www.japantimes.co.jp/culture/2004/08/11/arts/artist-builds-from-zero/#.VB-c0SuSxEA. DiPietro, Monty. ‘Skeletons Come out of the Closet’, Japan Times: Culture (30 June 2004), www.japantimes.co.jp/culture/2004/06/30/arts/skeletons-come-out-of-the- closet/#.U8QzsbHb5Zg. Dysart, Dynah & Fink, Hannah (eds). Asian Women Artists (Sydney: Craftsman House, 1996). Eccles, Jeremy. ‘The Eye of a Banner Man’, Asiaweek (2000), http://edition.cnn.com/ASIANOW/asiaweek/99/0702/feat2.html. Enwezor, Okwui (ed.). Annual Report: A Year in Exhibitions (Gwangju: Gwangju Biennale Foundation, 2008), pp. 262–85. Erickson, Britta ‘Recent Riffs on the Cultural
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