This book includes contributions from academics, artists and heritage practitioners, the volume explores decolonial heritage practices in politics, contemporary history, diplomacy, museum practice, the visual arts and self-generated memorial expressions in public spaces. The comparative focus of the chapters includes examples of internal colonization in Europe and extends to former European colonies, among them Shanghai, Cape Town, and Rio de Janeiro. Examining practices in a range of different contexts, the book pays particular attention to sub-national actors whose work is opening up new futures through their engagement with decolonial heritage practices in the present. The volume also considers the challenges posed by applying decolonial thinking to existing understandings of colonial heritage. This book examines the role of colonial heritage in European memory politics and heritage diplomacy. It will be of interest to academics and students working in the fields of heritage and memory studies, colonial and imperial history, European studies, sociology, cultural studies, development studies, museum studies, and contemporary art.

This book includes contributions from academics, artists and heritage practitioners, the volume explores decolonial heritage practices in politics, contemporary history, diplomacy, museum practice, the visual arts and self-generated memorial expressions in public spaces. The comparative focus of the chapters includes examples of internal colonization in Europe and extends to former European colonies, among them Shanghai, Cape Town, and Rio de Janeiro. Examining practices in a range of different contexts, the book pays particular attention to sub-national actors whose work is opening up new futures through their engagement with decolonial heritage practices in the present. The volume also considers the challenges posed by applying decolonial thinking to existing understandings of colonial heritage. This book examines the role of colonial heritage in European memory politics and heritage diplomacy. It will be of interest to academics and students working in the fields of heritage and memory studies, colonial and imperial history, European studies, sociology, cultural studies, development studies, museum studies, and contemporary art.

In "Black is a Color," contemporary art historian and curator Elvan Zabunyan proposes a new approach to contemporary art and its history through the practice of Black American artists from the Harlem Renaissance to today. Combining a historical study with probing critical analysis, "Black is a Color" depicts an America marked indelibly by its slavery past, out of which Afro-American contemporary artists have been able to build a singular and engaged body of work to protest against the cultural and political consequences of racial discrimination. In chapters covering notions of "Black conscience," the relation of "attitude" to form, and women Afro-American artists, Zabunyan traces the emergence of artistic identity in various forms of representation (painting, sculpture, photography, video, and performance). Close readings of the oeuvres of David Hammons, Adrian Piper, and others uncover the place of the body, urban space, and memory in the works of Black artists, who are represented with more than 130 images.

Ever since women artists gave themselves the right to express their sexual fantasies, their work has reserved surprises for those who once expressed their fantasies for them. In a raw language that ignores taboos and describes images that are sometimes hard to cope with, these women speak of sex like Courbet painted The Origin of the World. Keep This Sex Out of My Sight is a hymn to women's sex, a sanctification of a feminine desire so often erased, hidden, and forgotten. For the artists whose texts and images appear here, obscenity has become a territory in which lurks the source of the fear of their bodies. In it can be conjured the mutilating weight of masculine observation and its post-religious, obscurantist remnants, where pornography is the response to the fear of the female sexual organ. Showing the unshowable parts of the body flies in the face of social constraint, of plays for power where sexual liberation and liberation are all too often confused, where sex becomes political because of its integral role in the field of individual control.