Paul Duro is Professor of Art History and Visual and Cultural Studies at the University of Rochester, NY. He has published articles on the theory and practice of imitation, the sublime, art institutions, frame theory, the hierarchy of the genres, and Heidegger and travel writing. He is also the author of The Rhetoric of the Frame: Essays on the Boundaries of the Artwork (1996) and The Academy and the Limits of Painting in Seventeenth-Century France (1997).

• 6 Notes on Contributors8 Chapter 1 Why Imitation, and Why Global?Paul Duro30 Chapter 2 Post-Western Poetics: Postmodern Appropriation Art in AustraliaIan McLean50 Chapter 3 Essentially the Same: Eduardo Costa’s Minimal Differences and Latin American ConceptualismPatrick Greaney68 Chapter 4 Like Father, Like Son: Bernini’s Filial Imitation of MichelangeloCarolina Mangone90 Chapter 5 Navajo Sandpainting in the Age of Cross-Cultural ReplicationJanet Catherine Berlo110 Chapter 6 Copying and Theory in Edo-Period Japan (1615-1868)Kazuko Kameda-Madar130 Chapter 7 Original Imitations for Sale: Dafen and Artistic CommodificationVivian Li146 Chapter 8 The Temporal Logic of Citation in Chinese PaintingMartin J. Powers166 Chapter 9 IngeminationRichard Shiff186 Chapter 10 The Image Valued ‘As Found’ and the Reconfiguring of Mimesis in Post-War ArtAlex Potts208 Chapter 11 History Lessons: Imitation, Work and the Temporality of Contemporary ArtJonathan Bordo229 Index

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