Dr Sue Wragg, Nene College of Higher Education, St George's Avenue, Northampton NN2 6JD. Tel.01604 735500.

The long history of transatlantic crossings, literal, metaphorical and ideological, has generated a culture of complex affiliations and prejudices, creative misreadings and outright appropriations. Until fairly recently, however, these exchanges were dominated by the Eurocentric assumptions which underpinned the development of art history and other academic disciplines, and which appeared blind to the ways in which European practices were forced to reinvent themselves in a 'New World'. Such assumptions also ignored the inflexions produced in existing 'American' cultures by their contacts with Europeans.

This strand aims to explore the relationships between the visual cultures of the Americas and Europe, and the discourses which have framed them from early modern encounters to current practices. We invite proposals from practitioners, curators, historians and cultural theorists on all aspects of Euro-American artistic relations. Topics might include: the influence of the European aesthetic tradition on American art history and practice; the curatorship and purchasing policies of museums and art galleries; the global art market; the influence of American art criticism on theory and practice; exile, alienation; tourism, colonialism; spatial cognition and landscape.

• Lenora Moffa (University of Dallas) Coxcomb into Mystic: Whistler and American Values
• Rebecca Beasley (Queen Mary and Westfield College, London) Ezra Pound's Whistler
• Christine Boyanoski (Birkbeck College, London) The Cultural Decolonisation of 'British North America'
• Joan Coutu (University of Waterloo, Canada) Measuring Up: Art Criticism in Canada in Response to the Wembley Empire Exhibition
• Jennifer Gordon (Independent scholar) The Tate's American Friends
• Helen Rees (University of Manchester) Art Exports and the Formation of National Heritage in Britain, 1882-1997
• Adeline Julia (University of La Sorbonne, Paris) Oscar Bluemner and the American Avant-Garde
• Mark Rawlinson (University of Nottingham) Mimesis, Subjective Aesthetic Experience and the Invisibility of Modernism: Adorno's Aesthetic Theory and the Precisionist Charles Sheeler
• David A Wragg (Nene University College) Greenberg and Abstract Expressionism Reviewed
• Anne Massey (Southampton Institute) The Imagined and the Real: The Creative Partnership of Lawrence Alloway and Sylvia Sleigh
• John Beck (Darwin College, Cambridge) Art History in the Wilderness: John C. Van Dyke and Reyner Banham