Mapping Modernisms: Art, Indigeneity, Colonialism

Elizabeth Harney · Ruth B. Phillips

2018년 11월 · Duke University Press

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Mapping Modernisms brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. Mapping Modernisms is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world.

Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano

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Elizabeth Harney is Associate Professor of Art History at the University of Toronto and author of In Senghor's Shadow: Art, Politics, and the Avant-Garde in Senegal, 1960-1995, also published by Duke University Press, and Ethiopian Passages: Contemporary Art from the Diaspora.

Ruth B. Phillips is Professor of Art History at Carleton University and author of several books, including Museum Pieces: Toward the Indigenization of Canadian Museums and Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700-1900.