To what extent does locality influence contemporary art? Can any particular artistic practices be defined as uniquely Cypriot? And does art from Cyprus transcend Western boundaries once it enters the global art scene? This volume uses Cyprus as a case study for the exploration of notions of identity, regionalism, and the global and local in contemporary art practice; it is not, therefore, a complete historiography of contemporary Cypriot art. Rather, this critical text provides a theoretical and historical framework that frames and contextualizes art practices from Cyprus, while always relating these back to the international art world. Numerous current and pressing issues-all relevant beyond Cyprus-are investigated in this book including, but not limited to, art as capital, the emergence of the “periphery”, the importance of thriving localities, issues of memory and memorialization, archaeology, artists' identities, conflict and politics, social engagement, gender politics, and such curatorial alternatives as artist-run spaces. In doing all of this, Contemporary Art from Cyprus not only bears on current and future art practices in this region but highlights the importance of Cypriot art in a global context too.

Formerly a British colony, the island of Cyprus is now a divided country, where histories of political and cultural conflicts, as well as competing identities, are still contested. Cyprus provides the ideal case study for this innovative exploration, extensively illustrated, of how the practice of photography in relation to its political, cultural and economic contexts both contributes and responds to the formation of identity. Contributors from Cyprus, Greece, the UK and the USA, representing diverse disciplines, draw from photography theory, art history, anthropology and sociology to explore how the island and its people have been represented photographically. They reveal how the different gazes- colonial, political, gendered, and within art photography- contribute to the creation of individual and national identities and, by extension, to the creation and re-creation of imagery of Cyprus as place. While Photography and Cyprus focuses on one geographical and cultural territory, the questions this book asks and the themes and arguments it follows apply also to other places characterized by their colonial heritage. The intriguing example of Cyprus thus serves as a fitting test-ground for current debates relating to photography, place and identity.

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