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
Edited by:
Elizabeth Harney,
Ruth B. Phillips
Imprint: Duke University Press
Country of Publication: United States
Dimensions:
Height: 229mm,
Width: 152mm,
Weight: 771g
ISBN: 9780822368717
ISBN 10: 0822368714
Series: Objects/Histories
Pages: 456
Publication Date: 11 January 2019
Audience:
Professional and scholarly
,
Undergraduate
Format: Paperback
Publisher's Status: Active
"List of Illustrations ix General Editors' Foreword / Ruth B. Phillips and Nicholas Thomas xiii Preface / Elizabeth Harney and Ruth B. Phillips xv Introduction. Inside Modernity: Indigeneity, Coloniality, Modernisms / Elizabeth Harney and Ruth B. Phillips 1 Part I. Modern Values 1. Reinventing Zulu Tradition: The Modernism of Zizwezenyanga Qwabe's Figurative Relief Panels / Sandra Klopper 33 2. ""Hooked Forever on Primitive Peoples"": James Houston and the Transformation of ""Eskimo Handicrafts"" to Inuit Art / Heather Igloliorte 62 3. Making Pictures on Baskets: Modern Indian Painting in an Expanded Field / Bill Anthes 91 4. An Intersection: Bill Reid, Henry Speck, and the Mapping of Modern Northwest Coast Art / Karen Duffek 110 5. Modernism on Display: Negotiating Value in Exhibitions of Māori Art, 1958–1973 / Damian Skinner 138 Part II. Modern Identities 6. ""Artist of PNG"": Mathias Kauage and Melanesian Modernism / Nicholas Thomas 163 7. Modernism and the Art of Albert Namatjira / Ian McLean 187 8. Cape Dorset Cosmopolitans: Making ""Local"" Prints in Global Modernity / Norman Vorano 209 9. Natural Synthesis: Art, Theory, and the Politics of Decolonization in Mid-Twentieth-Century Nigeria / Chika Okeke-Agulu 235 Part III. Modern Mobilities 10. Being Modern, Becoming Native: George Morrison's Surrealist Journey Home / W. Jackson Rushing III 259 11. Falling into the World: The Global Art World of Aloï Pilioko and Nicolaï Michoutouchkine / Peter Brunt 282 12. Constellations and Coordinates: Repositioning Postwar Paris in Stories of African Modernisms / Elizabeth Harney 304 13. Conditions of Engagement: Mobility, Modernism, and Modernity in the Art of Jackson Hlungwani and Sydney Kumalo / Anitra Nettleton 335 14. The Modernist Lens of Lutterodt Studios / Erin Haney 357 Bibliography 377 Contributors 409 Index 415"
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.
Reviews for Mapping Modernisms: Art, Indigeneity, Colonialism
Mapping Modernisms keys in to several recent trends in cultural studies and art history, including transnationalism, global Indigeneity, and definitions of modernism and modernity. It addresses all of them in productively thought-provoking-and overtly political-ways. This is a volume with an agenda that is both timely and overdue, and, as their comprehensive and rousing introduction makes clear, the editors know it. -- Louise Siddons * Canadian Journal of History * Dispelling assumptions of the past, the authors reveal the artist to be as cognizant of the exigencies of their complicated histories and lives, as they are in command of their expressive forms. Mapping Modernism sheds much needed light onto the artistic production of modernist artists living in post- and neocolonial countries in the early twentieth century. -- Cecile Rose Ganteaume * Transmotion * Mapping Modernisms is a concise and carefully compiled selection of essays and art works from across historical and geographical spectrums, which challenge the relationship between postcolonialism and metahistorical concepts of modernity. -- Natalie Ilsley * Visual Studies * Mapping Modernisms is an excellent addition to any collection exploring the history of modernity and the decolonisation of modern art histories, and proposes a new conceptualization of modernity that would benefit any collection looking to re-examine its role in post-colonialism. -- Marianne R. Williams * ARLIS/NA Reviews * The wide-ranging and meticulously researched essays in Mapping Modernisms focus on indigenous artists from Inuit, Zulu, Maori, Pueblo, and Aboriginal cultures, among others, around the world. . . . What emerges from Mapping Modernisms is that Modernism was not a process of diffusion from Western centers to non-Western peripheries, as it is traditionally constructed in Western narratives, but rather a complex web of mutual in??uences and exchanges across the globe. -- Naomi Polonsky * Hyperallergic *
