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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.
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Paperback
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R398
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