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Kimathi Donkor
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Sustainable Art Communities
This collection sets out a range of perspectives on the challenges that the Caribbean is facing today, showing how the arts hold a crucial role in forging a more sustainable Caribbean community. It forcefully attests to the view that visual art in particular has a specific contribution to make and that this in turn means striving to foster a sustainable arts community that can contend with an environment of uneven infrastructure, opportunity and public awareness. Spanning the scholarly, artistic and professional fields of arts and heritage, this book compares two of the Caribbean's key linguistic regions - the Anglophone and the Dutch - to address the themes of global-local relations, capital, patronage, morality, contestation, sustainability and knowledge exchange. The result is a milestone of collaboration from diverse global settings of the Caribbean and its diaspora, including Jamaica, the Bahamas, Barbados, Suriname, Curaçao, the Netherlands, UK, Germany and the US.
Provoking the Field
Provoking the Field invites debate on, and provides an essential resource for, transnational arts-based scholars engaged in critical analyses of international visual arts education and its enquiry in doctoral research. Divided into three parts--doctoral processes, doctoral practices, and doctoral programs--the volume interrogates education in both formal and informal learning environments, ranging from schools to post-secondary institutions to community and adult education. This book brings together a global range of authors to examine visual arts PhDs using diverse theoretical perspectives; innovative arts and hybrid methodologies; institutional relationships and scholarly practices; and voices from the field in the form of site-specific cases. A compendium of leading voices in arts education, Provoking the Field provides a diverse range of perspectives on arts enquiry, and a comprehensive study of the state of visual arts PhDs in education.
Globalizing Contemporary Art
Today, contemporary art is a global phenomenon. Biennales, museums, art fairs, galleries, auction houses, academies and audiences for contemporary visual art are all institutions whose presence on a global scale has widened tremendously during the past two decades. Thus, by including contemporary art from non-Western regions, these traditional Western art institutions have not only broadened their scope to a greater extent, but have also been challenged themselves by the new cultural, economic and media world order of globalization. How contemporary art is made 'international' is the subject of this book, tracing as it does developments during the past two decades, while focusing particularly on the mechanisms of 'globality' which are at work in the art world today. The book critically investigates fundamental questions like: What is 'New Internationalism' in contemporary art, and how it affected the art world? How does New Internationalism relate to concepts like ethnicity, aesthetics, standard art history, and new media? And how is New Internationalism, rather paradoxically, furthered to a greater extent by global capitalism than it is by seemingly progressive art projects?
Carnival of Perception
A distinctive voice in art criticism since the 1960s, Guy Brett has followed an independent path in mapping and interpreting contemporary art. 'Carnival of Perception' is a collection of his writings which traces the outlines of a collective reality, expressed in a play of wit and spirit.
Testimonies on The History of Jamaica Vol. 1
History was written—England captured Jamaica from the Spaniards under Oliver Cromwell in 1655. Much of this history has been retold by Edward Long, best known for his first socio-economic and political study The History of Jamaica. His polemic supported the enslavement of African and Caribbean people and the monopolies and monocultures played out through the natural environment. These testimonies address some of Long's claims. A slave woman tells of the naming of Catherine's Peak and the erasure of the achievements of Black Jamaicans in the field of natural history. A mystic takes us back to the Spanish occupation. The maroons Juan de Bolas and Juan de Serras grieve their fate and the tragic future that came with sugarcane. These are imaginings of what the people who lived through this wrestling of Jamaica might have said, given the chance.
Global Milton and Visual Art
Global Milton and Visual Art showcases the aesthetic appropriation and reinterpretation of the works and legend of the early modern English poet and politician John Milton in diverse eras, regions, and media: book illustrations, cinema, digital reworkings, monuments, painting, sculpture, shieldry, and stained glass. It innovates an inclusive approach to Milton’s literary art, especially his masterpiece Paradise Lost, in global contemporary aesthetics via intertextual and interdisciplinary relations. The fifteen purposefully-brief chapters, 103 illustrations, and 64 supplemental web-images reflect the great richness of the topics and the diverse experiences and expertise of the contributors...
Soundworks
In Soundworks Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. Soundwork is Reed’s term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes’s collaboration with Charles Mingus, Amiri Baraka’s work with the New York Art Quartet, Jayne Cortez’s albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes.
The Nature of the Beast
Charting cultural diversity's various incarnations, from ethnic arts in the late 1970s, black arts in the 1980s, new internationalism in the 1990s and culturally diverse arts in the 21st Century; Hyltons study considers how today's overly benevolent and prescriptive attempts at inculcating cultural diversity within the visual arts reprise much of the outmoded thinking dating back to the 1970s. Through in-depth research and analysis, this study assesses the extent to which certain policies and initiatives might have assisted or hindered the progress of Black artists within the English gallery system.
