Over the past twenty years, no other part of the world has undergone as many changes as the Asian and Islamic regions. Since 1997, the London based Asian Art Newspaper has been covering on a monthly basis the world of Asian and Islamic art. Each issue has been featuring an interview with a contemporary artist, providing the reader with the opportunity to discover an artist through his own words and not through the lens of a curator, an art historian or a dealer. The featured illustrations allow the reader to have a clear understanding of what the artist_s practice and vision are about whether dealing with painting, sculpture, installation, photography, performance, video, film or music. Contemporary Voices compiles some of these interviews, covering the Asian and Islamic contemporary art scene, including internationally acclaimed as well as emerging artists.

This pioneering work traces the emergence of the modern and contemporary art of Muslim South Asia in relation to transnational modernism and in light of the region's intellectual, cultural, and political developments. Art historian Iftikhar Dadi here explores the art and writings of major artists, men and women, ranging from the late colonial period to the era of independence and beyond. He looks at the stunningly diverse artistic production of key artists associated with Pakistan, including Abdur Rahman Chughtai, Zainul Abedin, Shakir Ali, Zubeida Agha, Sadequain, Rasheed Araeen, and Naiza Khan. Dadi shows how, beginning in the 1920s, these artists addressed the challenges of modernity by translating historical and contemporary intellectual conceptions into their work, reworking traditional approaches to the classical Islamic arts, and engaging the modernist approach towards subjective individuality in artistic expression. In the process, they dramatically reconfigured the visual arts of the region. By the 1930s, these artists had embarked on a sustained engagement with international modernism in a context of dizzying social and political change that included decolonization, the rise of mass media, and developments following the national independence of India and Pakistan in 1947. Bringing new insights to such concepts as nationalism, modernism, cosmopolitanism, and tradition, Dadi underscores the powerful impact of transnationalism during this period and highlights the artists' growing embrace of modernist and contemporary artistic practice in order to address the challenges of the present era.

Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies.

This book provides an in-depth and thematic analysis of socially engaged art in Mainland China, exploring its critical responses to and creative interventions in China’s top-down, pro-urban, and profit-oriented socioeconomic transformations. It focuses on the socially conscious practices of eight art professionals who assume the role of artist, critic, curator, educator, cultural entrepreneur, and social activist, among others, as they strive to expose the injustice and inequality many Chinese people have suffered, raise public awareness of pressing social and environmental problems, and invent new ways and infrastructures to support various underprivileged social groups.

The 9/11 attacks in the United States, the subsequent global “war on terror,” and the proliferation of domestic security policies in Western nations have had a profound impact on the lives of young Muslims, whose identities and experiences have been shaped within and against these conditions. The millennial generation of Muslim youth has come of age in these turbulent times, dealing with the aftermath and backlash associated with these events. Under Siege explores the lives of Canadian Muslim youth belonging to the 9/11 generation as they navigate these fraught times of global war and terror. While many studies address contemporary manifestations of Islamophobia and anti-Muslim racism, few have focused on the toll this takes on Muslim communities, especially among younger generations. Based on in-depth interviews with more than 130 young people, youth workers, and community leaders, Jasmin Zine’s ethnographic study unpacks the dynamics of Islamophobia as a system of oppression and examines its impact on Canadian Muslim youth. Covering topics such as citizenship, identity and belonging, securitization, radicalization, campus culture in an age of empire, and subaltern Muslim counterpublics and resistance, Under Siege provides a unique and comprehensive examination of the complex realities of Muslim youth in a post-9/11 world. Twenty years after the 9/11 attacks, Zine reveals how the global war on terror and heightened anti-Muslim racism have affected a generation of Canadians who were socialized into a world where their faith and identity are under siege.

The final installment in the critically-acclaimed trilogy on globalization and art explores the growing dominance of Asian centers of art This book takes readers on a fascinating journey around five Asian centers of contemporary art and its myriad institutions, agents, forms, materials, and languages, while posing vital questions about the political economy of culture and the power of visual art in a multi-polar world. He analyzes the financial powerhouse of Art Basel Hong Kong, new media art in South Korea, the place of the Kochi Biennale within contemporary art in India, transnational art and art education in China, and the geo-politics of art patronage in Palestine, and he develops a highly original synthesis of theoretical perspectives and empirical research. Drawing on detailed case studies and personal insights gained from his extensive experience of the contemporary art scene in Asia, Professor Harris examines the evolving relationship between the western centers of art practice, collection, and validation and the emerging “peripheries” of Asian Tiger societies with burgeoning art centers. And he arrives at the somewhat controversial conclusion that dominance of the art world is rapidly slipping away from Europe and North America. The Global Contemporary Art World is essential reading for undergraduates and postgraduate students in modern and contemporary art, art history, art theory and criticism, cultural studies, the sociology of culture, and globalization studies. It is also a vital resource for research students, academics, and professionals in the art world.

"Contemporary Art, World Cinema, and Visual Culture: Essays by Hamid Dabashi" is a collection of writings by the acclaimed cultural critic and scholar. A thorough Introduction rigorously frames chapters and identifies in Dabashi’s writings a comprehensive approach, which forms the criteria for selecting the essays for the volume. The Introduction also teases out of these essays the overarching theme that holds them together, the manner they inform a particularly critical angle in them and the way they cohere. The Introduction dwells on the work of one scholar, public intellectual and theorist of modern and contemporary arts to extrapolate more universal issues of concern to art criticism in general. These scattered materials and their underlying theoretical and critical logic are a unique contribution to the field of modern and contemporary arts.

In an era when Islam ostensibly lies at the heart of a volatile nexus of a global campaign of war on terrorism, simplistic notions and dangerous misunderstandings about the cultures and nature of Southeast Asian Islam, in all its variants, are used to inform and justify policies.

A unique and visionary generation of young Chinese artists are coming to prominence in the art world - just as China cements its place as the second largest art market on the planet. Building on the new frontiers opened up by the Chinese artists of the late 1980s and 1990s, artists such as Ai Wei Wei who came to the West and became household names, this new generation are provocative, exciting and bold. But what does it mean to be a Chinese artist today? And how can we better understand their work? Here, renowned critic Barbara Pollack presents the first book to tell the story of how these Chinese millennials, fast becoming global art superstars, negotiate their cultural heritage, and what this means for China's impact on the future of global culture. Many young Chinese artists have declared they are "not Chinese, but global" - this book investigates just what that means for China, the art market, and the world. Brand new Art from China is the first collection to showcase the dynamic new art coming from Chinese artists, and features full-colour photos and video stills throughout - with many works being published in book-form for the first time. Featuring an in-depth interview with Zhang Xiaogang, probably the most well-known artist in China itself, whose sombre portraits of Chinese families during the Cultural Revolution sell for as much as $12 million at auction, alongside unparalleled access to the tastemakers of today's art scene, Brand New Art from China is the essential guide to Chinese contemporary art today - its vision, values and aesthetics.