原始主义的坚持与讨债人

IF 0.2 2区艺术学 0 ART

ARTMargins Pub Date : 2022-10-01 DOI:10.1162/artm_r_00327

E. Harney

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引用次数: 0

摘要

随着艺术史学科越来越倾向于将目光去殖民化，关于跨文化影响和负债、殖民现代时期形式和思想的交流和翻译以及后殖民回顾机制的问题变得至关重要。哈尼解决了这些问题，以及美学原始主义在非洲和散居现代主义和全球当代艺术实践方面的学术共鸣，通过对它们在最近三本著作中的重要性的批判性回顾:苏珊娜·普雷斯顿·布里尔的毕加索的《少女:现代杰作的未知起源》(杜克大学，2019年)，约书亚·科恩的《黑人文艺复兴:非洲雕塑和跨大陆的现代主义》(加州大学伯克利分校，2020年)和大卫·约瑟利特的《遗产与债务》。全球化中的艺术(麻省理工学院，2020)。

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The Persistence of Primitivism and the Debt Collectors

Abstract As the discipline of Art History increasingly aims to decolonize the gaze, questions have become paramount around cross-cultural influence and indebtedness, the traffic and translation of forms and ideas in the colonial modern era, and the mechanisms of postcolonial retrospection. Harney addresses these questions and the resonances of aesthetic primitivism in scholarship on African and diasporic modernisms and global contemporary artistic practices through a critical review of their weight within three recent volumes: Suzanne Preston Blier's Picasso's Demoiselles: The Untold Origins of a Modern Masterpiece (Duke UP, 2019), Joshua I. Cohen's The Black Renaissance: African Sculpture and Modernism Across Continents (UC Berkeley, 2020) and David Joselit's Heritage and Debt: Art in Globalization (MIT, 2020).

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来源期刊

ARTMargins ART-

CiteScore

0.10

自引率

0.00%

发文量

期刊介绍： ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.