Art in Theory E-Book

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 3169

Veröffentlichungsjahr: 2020

Beschreibung

A ground-breaking new anthology in the Art in Theory series, offering an examination of the changing relationships between the West and the wider world in the field of art and material culture

Art in Theory: The West in the World is a ground-breaking anthology that comprehensively examines the relationship of Western art to the art and material culture of the wider world. Editors Paul Wood and Leon Wainwright have included 370 texts, some of which appear in English for the first time.

The anthologized texts are presented in eight chronological parts, which are then subdivided into key themes appropriate to each historical era. The majority of the texts are representations of changing ideas about the cultures of the world by European artists and intellectuals, but increasingly, as the modern period develops, and especially as colonialism is challenged, a variety of dissenting voices begin to claim their space, and a counter narrative to western hegemony develops. Over half the book is devoted to 20th and 21st century materials, though the book’s unique selling point is the way it relates the modern globalization of art to much longer cultural histories.

As well as the anthologized material, Art in Theory: The West in the World contains:

• A general introduction discussing the scope of the collection
• Introductory essays to each of the eight parts, outlining the main themes in their historical contexts
• Individual introductions to each text, explaining how they relate to the wider theoretical and political currents of their time

Intended for a wide audience, the book is essential reading for students on courses in art and art history. It will also be useful to specialists in the field of art history and readers with a general interest in the culture and politics of the modern world.

Leseprobe

Table of Contents

Cover

Title Page

Copyright Page

Dedication Page

Acknowledgements

A Note on the Presentation and Editing of Texts

General Introduction

Art and the issue of ‘globalization’

The

Art in Theory

project

Issues of selection and organization

The question of where to begin

The contemporary situation

Part I: Encountering the World

IA Figures of Wealth and Power

IA1

R

obert of Clari (

fl c.

1200–16) from

The Conquest of Constantinople

IA2 Giovanni di Pian de Carpini (‘John of Carpini’) (

c.

1185–1252) from his

Journey to the Court of Kuyuk Khan

IA3 Marco Polo (1254–1324) from

The Travels

IA4 ‘Sir John Mandeville’ (

fl c.

1350–60) from his

Travels

IA5 Various authors on artistic and cultural relations between Italian city states and the Ottoman and Mamluk empires during the late fifteenth and early sixteenth centuries

IA5(i) Sigismondo Malatesta of Rimini (1417–68) Letter of introduction for Matteo de’ Pasti to Mehmed II

IA5(ii) Marin Sanudo (1466–1536) from his diary for 1 August 1479

IA5(iii) Mehmed II (1432–81) to the Venetian Senate

IA5(iv) The Venetian Senate Letter to Mehmed II

IA5(v) Luca Landucci (c.1436–1516) from his Florentine diary

IA5(vi) Leonardo da Vinci (1452–1519) from a letter to Sultan Bayezid II

IA5(vii) Tommaso di Tolfo from a letter to Michelangelo

IA6 Giovanni da Empoli (1483–1518) On India, Ceylon and the Spice Islands

IA7 João de Castro (1500–48) from

Roteiro de Goa até Dio

IA8 Simão de Melo (d. 1570) from an inventory of his goods

IA9 Johann Huyghen van Linschoten (1563–1611) On Indian religious art

IA10 Duarte de Sande (1547–99) from ‘An Excellent Treatise of the Kingdom of China’

IA11 Matteo Ricci (1552–1610) from his journal

IA12 Jean‐Baptiste Tavernier (1605–89) On the Peacock Throne

IB Across the Ocean Sea

IB1 Christopher Columbus (1451–1506) Two texts from his first voyage to America

IB2 Amerigo Vespucci (1451–1512) Letter to Lorenzo Pietro Franco de Medici

IB3 Hernán Cortés (1485–1547) Two letters from Mexico

IB4 Bartolomé de Las Casas (1474–1566) from

Apologetic History of the Indies

IB5 Toribio de Benavente (‘Motolinía’) (1482–1568) from

History of the Indians of New Spain

IB6 First Provincial Council in Lima (1551–2) On the destruction of Indian sacred sites

IB7 Jean de Léry (1534–1613) from

History of a Voyage to the Land of Brazil

IB8 Thomas Harriot (1560–1621) from

A Briefe and True Report of the New Found Land of Virginia

IB9 Bernardo de Balbuena (

c.

1561/68–1627) from

Grandeza Mexicana

IB10 Juan Rodríguez Freile (1566–

c.

1640) On the legend of

El Dorado

IB11 John Lok (

c.

1533–

c.

1615)

A Voyage to Guinea in the year 1554

IB12 Olfert Dapper (1636–89) On the city of Benin

IB13 William Dampier (1652–1715) The first encounter with indigenous Australian people

IC Scholarly Responses

IC1 Anon. from the Inventory of the Palazzo Medici

IC2 Albrecht Dürer (1471–1528) from his diary of his journey to the Netherlands

IC3 Thomas Platter (1574–1628) On Mr Cope’s cabinet of curiosities

IC4 Michel de Montaigne (1533–92) ‘On the Cannibals’

IC5 Christopher Marlowe (1564–93) from

Tamburlaine the Great

IC6 Francis Bacon (1561–1626) ‘Of Plantations’

IC7 Francis Bacon (1561–1626) from

New Atlantis

IC8 Martin de Charmois (1609–61), from his Petition to the King and to the Lords of his Council

IC9 Dorothy Osborne (1627–95) from letters to Sir William Temple

IC10 Thomas Hobbes (1588–1679) ‘Of the Naturall Condition of Mankind’

IC11 John Tradescant (1608–62) from the

Museum Tradescantianum, or A Collection of Rarities

IC12 John Dryden (1631–1700) on the ‘Noble Savage’

IC13 Aphra Behn (

c.

1640–89) from

Oroonoko, or The Royal Slave

IC14 Charles Perrault (1628–1703) from

Parallel of the Ancients and Moderns

IC15 William Temple (1628–99) On the distinctiveness of Chinese gardens

IC16 Gottfried Wilhelm Leibniz (1646–1716) from ‘Preface’ to

Novissima Sinica

IC17 John Locke (1632–1704) ‘Of Property’, from

Two Treatises of Government

Part II: Enlightenment and Expansion

IIA The Orient in Fact and Fancy

IIA1 Antoine Galland (1646–1715) Preface to d’Herbelot’s

Bibliothèque Orientale

IIA2 Anon. from

The Arabian Nights Entertainments

IIA3 Lady Mary Wortley Montagu (1689–1762) Letters from the Turkish Empire

IIA4 Charles‐Louis de Secondat, Baron de Montesquieu (1689–1755) from

Persian Letters

IIA5 Joseph Addison (1672–1719) from ‘The Pleasures of the Imagination’

IIA6 John Shebbeare (1709–88) ‘The taste of England at present …’

IIA7 Oliver Goldsmith (

c.

1728–74) from

The Citizen of the World

IIA8 Sir William Chambers (1723–96) from

A Dissertation on Oriental Gardening

IIA9 Sir William Jones (1746–94) from his

Discourses

to the Asiatick Society of Bengal

IIA10 William Beckford of Fonthill (1760–1844) from

Vathek

IIA11 Sir George Staunton (1737–1801) from his account of the Macartney embassy to China

IIB Curiosities and Colonies

IIBI Hans Sloane (1660–1753) from

The Natural History of Jamaica

IIB2 Jonathan Swift (1667–1745) from

Gulliver’s Travels

IIB3 Louis Antoine de Bougainville (1729–1811) On Tahiti

IIB4 A selection of texts from the Cook voyages to the Pacific 1768–80

IIB4(i) Joseph Banks On two figures and a

Marae

, or temple precinct, in Tahiti, June 1769

IIB4(ii) James Cook Two accounts of the practice of tattooing

IIB4(iii) James Cook On the people of Australia, April to August 1770

IIB4(iv) William Wales An account of music and dancing in Tahiti, 1773

IIB4(v) George Forster An account of artefacts at Tonga, October 1773

IIB4(vi) George Forster On the stone statues and wood carvings of Easter Island, March 1774

IIB5 Ignatius Sancho (1729–80) and Laurence Sterne (1713–68) An exchange of letters

IIB6 Manuel Amat y Junyent, Viceroy of Peru (1707–82) Letter on ‘Casta’ paintings

IIB7 Ignatius Sancho (1729–80) Letter to Jack Wingrave

IIB8 William Hodges (1744–97) from

Travels in India

IIB9 Thomas Jefferson (1743–1826) from

Notes on the State of Virginia

IIB10 Olaudah Equiano (

c.

1745/50–97) On the Middle Passage

IIB11 William Beckford of Somerley (1744–99) from

A Descriptive Account of the Island of Jamaica

IIB12 Erasmus Darwin (1731–1802) On revolution, slavery and the Wedgwood medallion

IIC Changing Ideas and Values

IIC1 David Hume (1711–76) from ‘Of National Characters’

IIC2 Jean‐Jacques Rousseau (1712–78) from ‘A Discourse on the Moral Effects of the Arts and Sciences’

IIC3 Comte de Caylus (1692–1765) from

A Collection of the Antiquities of Egypt

IIC4 Voltaire (François‐Marie Arouet; 1694–1778) from

Essay on the Manners and Spirit of Nations

IIC5 Voltaire (François‐Marie Arouet; 1694–1778) from ‘Essay on Taste’

IIC6 Immanuel Kant (1724–1804) from

Observations on the Feeling of the Beautiful and the Sublime

IIC7 Johann Joachim Winckelmann (1717–68) from

The History of Ancient Art

IIC8 John Millar (1735–1801) Notes on the ‘Four Stages’ theory of human development

IIC9 Denis Diderot (1713–84) ‘Supplement to the Voyage of Bougainville’

IIC10 Johann Gottfried Herder (1744–1803) from

A Monument to Johann Winckelmann

IIC11 Samuel Johnson (1709–84) On the state of nature

IIC12 Antoine Quatremère de Quincy (1755–1849) from

Egyptian Architecture

IIC13 Joshua Reynolds (1723–92) from his

Discourses

1776 and 1786

IIC14 Edward Gibbon (1737–94) Reflections on civilization and barbarism

Part III: Revolution, Romanticism, Reaction

IIIA History

IIIA1 Johann Gottfried Herder (1744–1803) from

Outlines of a Philosophy of the History of Man

IIIA2 Charles Bell (1774–1842) from

Essays on the Anatomy of Expression in Painting

IIIA3 Friedrich Schlegel (1772–1829) ‘On the Language and Philosophy of the Indians’

IIIA4 Joseph Fourier (1768–1830) from ‘Historical Preface’ to the

Description of Egypt

IIIA5 Edward Moor (1771–1848) from

The Hindu Pantheon

IIIA6 Richard Payne Knight (1751–1824) from

An Inquiry into the Symbolical Language of Ancient Art and Mythology

IIIA7 John Flaxman (1755–1826) ‘Style’

IIIA8 Georg Wilhelm Friedrich Hegel (1770–1831) from

Aesthetics: Lectures on Fine Art

IIIA9 Georg Wilhelm Friedrich Hegel (1770–1831) from

Lectures on the Philosophy of World History

IIIA10 John L. Stephens (1805–52) from

Incidents of Travel in Yucatan

IIIA11 Arthur Schopenhauer (1788–1860) ‘On Human Nature’

IIIA12 Gottfried Semper (1803–79) from

The Four Elements of Architecture

IIIB Visions of the Exotic

IIIB1 Samuel Taylor Coleridge (1772–1834) ‘Kubla Khan’

IIIB2 Maria Edgeworth (1768–1849) from

The Absentee

IIIB3 George Gordon, Lord Byron (1788–1824) from

The Giaour

IIIB4 Thomas De Quincey (1785–1859) from

Confessions of an English Opium‐Eater

IIIB5 Johann Wolfgang Goethe (1749–1832) from the

West–Eastern Divan

IIIB6 Giacomo Leopardi (1797–1837) from

Zibaldone

IIIB7 Alfred, Lord Tennyson (1809–92) from ‘Timbuctoo’

IIIB8 Eugène Delacroix (1798–1863) Letters and notes on his journey to North Africa

IIIB9 George Catlin (1796–1872) ‘Letter from the Mouth of the Yellowstone River’

IIIB10 John Constable (1776–1837) from ‘Discourses’

IIIB11 David Roberts (1796–1864) from his travels to Egypt and the Middle East

IIIB12 Jean Auguste Dominique Ingres (1780–1867) Notes on the Turkish baths

IIIC Missionaries, Managers and Resistance

IIIC1 Thomas Paine (1737–1809) from

Rights of Man

IIIC2 William Blake (1757–1827) from

America, a Prophecy

IIIC3 Mirza Abu Talib (or Taleb) Khan (1752–1805) from his

Travels

IIIC4 Lady Maria Nugent (1771–1834) from her journal

IIIC5 William Wordsworth (1770–1850)

To Toussaint L’Ouverture

IIIC6 James Mill (1773–1836) from

The History of British India

IIIC7 Percy Bysshe Shelley (1792–1822) ‘Ozymandias’

IIIC8 Henry Salt (1780–1827) and Joseph Banks (1743–1820) Two letters

IIIC9 John Davy (1790–1868) from

An Account of the Interior of Ceylon

IIIC10 William Ellis (1794–1872) from

Polynesian Researches

IIIC11 Ram Raz (1790–1833) from

Essay on the Architecture of the Hindús

IIIC12 Thomas Babington Macaulay, Lord Macaulay (1800–59) Minute on Indian Education

IIIC13 James Mallord William Turner (1775–1851), William Makepeace Thackeray (1811–63) and John Ruskin (1819–1900) Three texts relating to J. M. W. Turner’s

Slave Ship

Part IV: Modernity and Empire

IVA Enduring Fictions and Transformed Spaces

IVA1 Théophile Gautier (1811–72) from ‘Art in 1848’

IVA2 Théophile Gautier (1811–72) On Gérôme and artistic Orientalism

IVA3 Théophile Thoré, writing as William Bürger (1807–69), from ‘New Tendencies in Art’

IVA4 Edmond and Jules de Goncourt (1822–96 and 1830–70 respectively) on Japanese art

IVA5 Various authors on Japanese art and the ‘painting of modern life’

IVA5(i) Charles Baudelaire (1821–67) from a letter to Arsène Houssaye, 1861

IVA5(ii) Émile Zola (1840–1902) On Manet

IVA5(iii) Edmond Duranty (1833–80) On ‘the new painting’

IVA5(iv) Stéphane Mallarmé (1842–98) from ‘The Impressionists and Edouard Manet’

IVA5(v) Théodore Duret (1838–1927) On Japan

IVA5(vi) Félix Fénéon (1861–1944) from ‘The Impressionists in 1886’

IVA5(vii) Vincent Van Gogh On Japan

IVA6 Philippe Burty (1830–90) ‘Ancient Japan and Modern Japan’

IVA7 Joris‐Karl Huysmans (1848–1907) from

A Rebours

IVA8 Pierre Loti (1850–1923) from

The Marriage of Loti

IVA9 A cluster of texts on Gauguin and Oceania

IVA9(i) Paul Gauguin (1848–1903) from three letters written before leaving for Polynesia

IVA9(ii) Paul Gauguin from

Noa Noa

IVA9(iii) Auguste Strindberg (1849–1912) and Paul Gauguin from an exchange of letters 1895

IVA9(iv) Paul Gauguin from

Avant et après

, Atuona, Hiva‐Oa

IVA10 Hermann Bahr (1863–1934) Review of the Japanese exhibition at the sixth exhibition of the Vienna Secession

IVB Society, Evolution and the Idea of ‘Race’

IVB1 Robert Knox (1793–1862) from

The Races of Men

IVB2 Joseph‐Arthur, Comte de Gobineau (1816–82) from

The Inequality of Human Races

IVB3 Solomon Northup (1808–

c.

1863) from

Twelve Years a Slave

IVB4 John Ruskin (1819–1900) from

The Two Paths

IVB5 Ernest Renan (1823–92) from ‘The Position of the Shemitic Nations in the History of Civilization’

IVB6 Karl Marx (1818–83) and Friedrich Engels (1820–95) On the emergence of the world system

IVB7 Karl Marx (1818–83) On the ‘Asiatic mode of production’ and modern capitalism

IVB8 The First International address to the people of the United States of America

IVB9 Edmond de Goncourt (1822–96) from the

Goncourt Journal

IVB10 Charles Darwin (1809–82) from

The Descent of Man

IVB11 Friedrich Nietzsche (1844–1900) ‘Signs of Higher and Lower Culture’

IVB12

Encyclopaedia Britannica

Ninth edition: ‘Negro’

IVB13 W. T. Stead (1849–1912) ‘To All English‐speaking Folk’

IVB14 R. H. Bacon (1867–1947) from

Benin: The City of Blood

IVB15 Rudyard Kipling (1865–1936) ‘The White Man’s Burden’

IVC Anthropology, Museums and the Origins of Art

IVC1 Owen Jones (1809–74) from

The Grammar of Ornament

IVC2 Edward Tylor (1832–1917) from

Primitive Culture

IVC3 Augustus Lane‐Fox Pitt‐Rivers (1827–1900) ‘Principles of Classification’

IVC4 J. G. Frazer (1854–1941) from

The Golden Bough

IVC5 Ernst Grosse (1862–1927) ‘Ethnology and Aesthetics’

IVC6 Henry Balfour (1863–1939) from

The Evolution of Decorative Art

IVC7 Alfred Haddon (1855–1940), from

Evolution in Art

IVC8 Alois Riegl (1858–1905) from

Problems of Style

IVC9 Alois Riegl (1858–1905) ‘The Place of the Vapheio Cups in the History of Art’

IVC10 George Birdwood (1832–1917) ‘Conventionalism in Primitive Art’

IVD The World in View

IVD1 Gérard de Nerval (1808–55) from

Scenes of Life in the Orient

IVD2 Gustave Flaubert (1821–80) On the pyramids

IVD3 Hiram Bingham (1789–1869) from

A Residence of Twenty‐One Years in the Sandwich Islands

IVD4 Sir Colin Campbell (1776–1847) Letter to Lord Stanley

IVD5 Andrew Nicoll (1804–86) ‘A Sketching Tour of Five Weeks in the Forests of Ceylon’

IVD6 Robert Fortune (1812–80) from

A Residence Among the Chinese

IVD7 James Fergusson (1808–86) from

History of Indian Architecture

IVD8 Rajendralal Mitra (1824–91) from

Indo‐Aryans

IVD9 Robert Louis Stevenson (1850–94) On the South Seas

IVD10 C. H. Read (1857–1929) and O. M. Dalton (1866–1945) ‘Works of Art from Benin City’

IVD11 Henry Ling Roth (1855–1925) ‘Primitive Art from Benin’

IVD12 Mary Kingsley (1862–1900) from

West African Studies

Part V: The Significance of the ‘Primitive’

VA Authenticity, Form and Feeling

VA1 A cluster of short texts on the initial encounter of the European avant‐garde with African art in 1906–7

VA1(i) André Derain (1880–1954) Letter to Maurice de Vlaminck, March 1906

VA1(ii) Maurice de Vlaminck (1876–1958) On his ‘discovery’ of African art in 1906

VA1(iii) Henri Matisse (1869–1954) On his encounter with African art in 1906

VA1(iv) Pablo Picasso (1881–1973) On his visit to the Trocadero museum in 1907

VA2 Wilhelm Worringer (1881–1965) from

Abstraction and Empathy

VA3 Roger Fry (1866–1934) ‘The Art of the Bushmen’

VA4 Guillaume Apollinaire (1880–1918) ‘Exoticism and Ethnography’

VA5 Franz Marc (1880–1916) Letter to August Macke

VA6 Franz Marc (1880–1916) ‘The

Savages

of Germany’

VA7 August Macke (1887–1914) ‘Masks’

VA8 Emil Nolde (1867–1956) ‘On Primitive Art’

VA9 Alexander Shevchenko (1888–1948) ‘Neo‐Primitivism’

VA10 Henri Matisse (1869–1954) On his visits to North Africa

VA11 Paul Klee (1879–1940) On his visit to Tunisia

VA12 Hermann Bahr (1863–1934) from

Expressionism

VB The Reach of Empire

VB1  James A. Hobson (1858–1940) from

Imperialism

VB2 Charles Augustus Stoddard (1833–1920) from

Cruising Among the Caribbees

VB3 Edward Wilmot Blyden (1832–1912) ‘West Africa Before Europe’

VB4 Kakuso Okakura (1862–1913) from

The Ideals of the East

VB5 Sister Nivedita (1867–1911) ‘Introduction’ to Okakura’s

The Ideals of the East

VB6 W. E. B. Du Bois (1868–1963) from

The Souls of Black Folk

VB7 From the

Harmsworth History of the World

On the ‘degeneration’ of indigenous Australians

VB8 Ananda Coomaraswamy (1877–1947) ‘The Aims of Indian Art’

VB9 E. B. Havell (1861–1934) ‘The New Indian School of Painting’

VB10 Lucien Lévy‐Bruhl (1857–1939) from

How Natives Think

VB11 Leo Frobenius (1873–1938) from

The Voice of Africa

VB12 Sigmund Freud (1856–1939) from

Totem and Taboo

Part VI: In a World of Colonies

VIA Modern, Primitive, Universal

VIA1 Guillaume Apollinaire (1880–1918) ‘On the Art of the Blacks’

VIA2 Guillaume Apollinaire (1880–1918) On African and Oceanic sculptures

VIA3 Roger Fry (1866–1934) ‘Negro Sculpture’

VIA4 Florent Fels (1891–1977) et al. ‘Opinions on Negro Art’

VIA5 Herbert Read (1893–1968) from

Art Now

VIA6 James Johnson Sweeney (1900–86) ‘The Art of Negro Africa’

VIA7 Alain Locke (1886–1954) ‘African Art: Classic Style’

VIA8 Robert Goldwater (1907–73) ‘A Definition of Primitivism’

VIA9 Margaret Preston (1875–1963) ‘Paintings in Arnhem Land’

VIA10 Henry Moore (1898–1986) ‘Primitive Art’

VIA11 A cluster of short texts by American painters of the 1940s on primitive art and myth

VIA11(i) Adolph Gottlieb (1903–74) and Mark Rothko (1903–70) Statement

VIA11(ii) Adolph Gottlieb (1903–74) and Mark Rothko (1903–70) from ‘The Portrait and the Modern Artist’

VIA11(iii) Jackson Pollock (1912–56) Answers to a questionnaire

VIA11(iv) Barnett Newman (1905–70) ‘Pre‐Columbian Stone Sculpture’

VIA11(v) Barnett Newman (1905–70) ‘Art of the South Seas’

VIA11(vi) Barnett Newman (1905–70) ‘Northwest Coast Indian Painting’

VIA11(vii) Jackson Pollock (1912–56) Statement

VIA11(viii) Mark Rothko (1903–70) from ‘The Romantics were prompted …’

VIB Western CivilizationFor and Against

VIB1 Rosa Luxemburg (1871–1919) from

The Accumulation of Capital – an Anti‐Critique

VIB2 Hermann Hesse (1877–1962) ‘The European’

VIB3 Ezra Pound (1885–1972) from

Hugh Selwyn Mauberley

VIB4 Oswald Spengler (1880–1936) from

The Decline of the West

VIB5 Rabindranath Tagore (1861–1941) from

Creative Unity

VIB6 The Third International, ‘The Black Question’

VIB7 W. E. B. Du Bois (1868–1963) ‘Criteria of Negro Art’

VIB8 Franz Boas (1858–1942) from

Primitive Art

VIB9 Alain Locke (1886–1954) ‘Art or Propaganda’

VIB10 Sigmund Freud (1856–1939) from

Civilization and Its Discontents

VIB11 Alfred Rosenberg (1893–1946) from

The Myth of the Twentieth Century

VIB12 Leo Frobenius (1873–1938), ‘Reflections on African Art’

VIB13 Walter Benjamin (1892–1940) ‘Experience and Poverty’

VIB14 Narranyeri (attributed to David Unaipon 1875–1967) ‘A Blackfellow’s Appeal to White Australia’

VIB15 Edmund Husserl (1859–1938) from ‘The Vienna Lecture’

VIB16 Julius Lips (1895–1950) from

The Savage Hits Back

VIB17 Fernando Ortiz (1881–1969) ‘The Social Phenomenon of “Transculturation”’

VIB18 Eric Williams (1911–81) from

Capitalism and Slavery

VIC The Challenge of theAvant‐Garde

VIC1 Voldemārs Matvejas/‘Vladimir Markov’ (1877–1914) ‘Negro Art’

VIC2 Carl Einstein (1885–1940) from

Negerplastik

VIC3 Tristan Tzara (1896–1963) ‘Chanson du serpent’/‘Song of the Snake’

VIC4 Oswald de Andrade (1890–1954) ‘Cannibalist Manifesto’

VIC5 Sergei Eisenstein (1898–1948) ‘The Cinematographic Principle and the Ideogram’

VIC6 Len Lye (1901–80) Two letters

VIC7 The Surrealist group in Paris ‘Don’t Visit the Colonial Exhibition’

VIC8 The Surrealist group at the Sorbonne from

Legitimate Defence

VIC9 The Surrealist group in Paris ‘Murderous Humanitarianism’

VIC10 Michel Leiris (1901–90) from

L’Afrique fantôme

/

Phantom Africa

VIC11 Antonin Artaud (1896–1948) ‘What I Came to Mexico to Do’

VIC12 Josef Albers (1888–1976) ‘Truthfulness in Art’

VIC13

Art et Liberté

group, Cairo ‘Long Live Degenerate Art’

VIC14 Aimé Césaire (1913–2008) from

Notebook of a Return to the Native Land

VIC15 Claude Lévi‐Strauss (1908–2009) ‘The Art of the Northwest Coast’

VIC16 Pierre Mabille (1904–52) ‘

The Jungle

’

Part VII: Independence and thePost‐colonial

VIIA Resituating Theory and Politics

VIIA1 Jean‐Paul Sartre (1905–80) from

Black Orpheus

VIIA2 Aimé Césaire (1913–2008) from

Discourse on Colonialism

VIIA3 Claude Lévi‐Strauss (1908–2009) from

Tristes Tropiques

VIIA4 Roland Barthes (1915–80) ‘African Grammar’

VIIA5 Frantz Fanon (1925–61) from ‘On National Culture’

VIIA6 George Kubler (1912–96) from

The Shape of Time

VIIA7 Michel Foucault (1926–84) from

The Order of Things

VIIA8 Edward Said (1935–2003) from

Orientalism

VIIA9 Gilles Deleuze (1925–95) and Félix Guattari (1930–92) from

Mille plateaux

VIIA10 Johannes Fabian (b. 1937) from

Time and the Other

VIIB Exhibitions, Museums and Histories Reimagined

VIIB1 André Malraux (1901–76) from ‘Museum Without Walls’

VIIB2 Aimé Césaire (1913–2008) On the institution of the museum

VIIB3 Carl Sandburg (1878–1967) and Edward Steichen (1879–1973) from

The Family of Man

VIIB4 Roland Barthes (1915–80) ‘The Great Family of Man’

VIIB5 Georges Bataille (1892–1962) ‘The Cradle of Humanity’

VIIB6 Léopold Sédar Senghor (1906–2001) from the First World Festival of Black Arts

VIIB7 Robert Farris Thompson (b. 1932) ‘Yoruba Artistic Criticism’

VIIB8 Ian Burn (1939–93) ‘Art is what we do, culture is what we do to other artists’

VIIB9 Linda Nochlin (1931–2017) from ‘The Imaginary Orient’

VIIB10 Luis Camnitzer (b. 1937) ‘Report from Havana: The First Biennial of Latin American Art’

VIIB11 William Rubin (1927–2006) from

‘Primitivism’ in 20

th

Century Art

VIIB12 James Clifford (b. 1945) ‘Histories of the Tribal and the Modern’

VIIB13 Martin Bernal (1937–2013) from

Black Athena

VIIC Beyond Modernism

VIIC1 David A. Siqueiros (1896–1974) ‘Towards a New Integral Art’

VIIC2 Kazuo Shiraga (1924–2008) ‘The Shaping of the Individual’

VIIC3 Ad Reinhardt (1913–67) ‘Timeless in Asia’

VIIC4 George Maciunas (1931–78) Fluxus Manifesto

VIIC5 Anni Albers (1899–1994) ‘Tapestry’

VIIC6 Hélio Oiticica (1937–80) from ‘General Scheme of the New Objectivity’ and ‘Tropicália’

VIIC7 María Teresa Gramuglio (b. 1939) and Nicolás Rosa (1938–2006)

Tucumán Burns

VIIC8 Marshall McLuhan (1911–80) and Quentin Fiore (1920–2019) from

War and Peace in the Global Village

VIIC9 Robert Smithson (1938–73) ‘Incidents of Mirror‐Travel in the Yucatan’

VIIC10 Nam June Paik (1932–2006) ‘

Global Groove

and the Video Common Market’

VIIC11 Joseph Beuys (1921–86) ‘Manifesto on the Foundation of a “Free International School for Creativity and Interdisciplinary Research”’

VIIC12 Terry Smith (b. 1944) ‘The Provincialism Problem’

VIIC13 Robert Morris (1931–2018) ‘Aligned with Nazca’

VIIC14 Lothar Baumgarten (1944–2018) from ‘Conquering the Southern Continent in the Haze of a Sixpenny Cigar’

VIIC15 Alfredo Jaar (b. 1956) Statement

VIID Asserting Identity

VIID1 F. N. Souza (1924–2002) ‘Nirvana of a Maggot’

VIID2 James Baldwin (1927–87) ‘Princes and Powers’

VIID3 Uche Okeke (1933–2016) ‘Growth of an Idea’ and ‘Natural Synthesis’

VIID4 Aubrey Williams (1926–90) ‘The Predicament Of The Artist In The Caribbean’

VIID5 Larry Neal (1937–81) from ‘The Black Arts Movement’

VIID6 Frank Bowling (b. 1934) ‘It’s Not Enough to Say

Black Is Beautiful

’

VIID7 Faith Ringgold (b. 1930) Interview on

For The Women’s House

VIID8 Papa Ibra Tall (1935–2015) ‘Negritude and Contemporary Plastic Art’

VIID9 Edward ‘Kamau’ Brathwaite (1930–2020) from

Contradictory Omens

VIID10 Rasheed Araeen (b. 1935) ‘Preliminary Notes for a Black Manifesto’

VIID11 Ana Mendieta (1948–85) ‘Introduction’ to

Dialectics of Isolation

VIID12 Isaac Julien (b. 1960) and Kobena Mercer (b. 1960) ‘De Margin and De Centre’

Part VIII: The Global Turn

VIIIA Critical Revisions

VIIIA1 Rasheed Araeen (b. 1935) ‘Why Third Text?’

VIIIA2 Peter Wollen (b. 1938) ‘Tourism, Language and Art’

VIIIA3 Homi K. Bhabha (b. 1949) ‘The Postcolonial and the Postmodern’

VIIIA4 Arjun Appadurai (b. 1949) from

Modernity at Large

VIIIA5 Michael Hardt (b. 1960) and Antonio Negri (b. 1933) from

Empire

VIIIA6 Irit Rogoff (b. 1963) On visual culture

VIIIA7 Richard Bell (b. 1953) ‘Bell’s Theorem: Aboriginal Art – It’s a White Thing’

VIIIA8 Dipesh Chakrabarty (b. 1948) from

Provincializing Europe

VIIIA9 Immanuel Wallerstein (b. 1930) from

World‐Systems Analysis

VIIIA10 James Elkins (b. 1955) from

Is Art History Global?

VIIIA11 Partha Mitter (b. 1938) ‘Decentering Modernism’

VIIIA12 Fredric Jameson (b. 1934) from

A Singular Modernity

VIIIA13 Aruna D’Souza Introduction to

Art History in the Wake of the Global Turn

VIIIA14 Peter Weibel (b. 1944) ‘Modernity Reset: Renaissance 2.0’

VIIIB Diversity, Translation, Creolization and Identity

VIIIB1 Stuart Hall (1932–2014) ‘New Ethnicities’

VIIIB2 Édouard Glissant (1928–2011) ‘Creolisation and the Americas’

VIIIB3 Sonia Boyce and Manthia Diawara (b. 1962 and 1953 respectively) ‘The Art of Identity: A Conversation’

VIIIB4 Paul Gilroy (b. 1956) from

The Black Atlantic

VIIIB5 Coco Fusco and Guillermo Gómez‐Peña (b. 1960 and 1955 respectively) Interview with Anna Johnson

VIIIB6 Sarat Maharaj (b. 1951) ‘Perfidious Fidelity; the Untranslatability of the Other’

VIIIB7 Gordon Bennett (1955–2014) Letter to Jean‐Michel Basquiat

VIIIB8 Antonio Benítez‐Rojo (1931–2005) ‘Three Words toward Creolization’

VIIIB9 Edward Said (1935–2003) ‘The Art of Displacement’

VIIIB10 Fred Wilson (b. 1954) and Kwame Anthony Appiah (b. 1954) ‘Fragments of a Conversation’

VIIIB11 Homi K. Bhabha (b. 1949) ‘Another Country’

VIIIB12 Yinka Shonibare (b. 1962) Interview with Bernard Müller

VIIIB13 Fiona Tan (b. 1966) ‘Other Facets of the Same Globe’

VIIIB14 Lubaina Himid (b. 1954) ‘We are Us not Other’

VIIIB15 Kara Walker (b. 1969) ‘A Sonorous Subtlety’: an interview with Kara Rooney

VIIIB16 Fred Moten (b. 1962) On the art of Chris Ofili, from ‘Blue Vespers’

VIIIC Global Art and the Museum

VIIIC1 Jean‐Hubert Martin (b. 1944) Preface to

Magiciens de la terre

VIIIC2 Rasheed Araeen (b. 1935) from

The Other Story

VIIIC3 Llilian Llanes Godoy (b. 1947) ‘Introduction’ to the Third Havana Biennial

VIIIC4 Luis Camnitzer (b. 1937), Jane Farver (1947–2015) and Rachel Weiss ‘Foreword’ to

Global Conceptualism

VIIIC5 Salah M. Hassan (b. 1964) and Olu Oguibe (b. 1964) from

Authentic/Ex‐Centric

VIIIC6 Okwui Enwezor (1963–2019) ‘The Black Box’

THE POSTCOLONIAL AFTERMATH OF GLOBALIZATION AND THE TERRIBLE NEARNESS OF DISTANT PLACES

VIIIC7

Artforum

Roundtable discussion on ‘Global Tendencies’

VIIIC8 Kwame Anthony Appiah (b. 1954) ‘Whose Culture Is It Anyway?’

VIIIC9 Chin‐Tao Wu ‘Biennials Without Borders?’

VIIIC10 Gayatri Chakravorty Spivak (b. 1942) ‘Sign and Trace’

VIIIC11 Hans Belting (b. 1935) and Andrea Buddensieg ‘From Art World to Art Worlds’

VIIIC12 Clémentine Deliss (b. 1960) ‘Stored Code’ and ‘Foreign Exchange’

VIIID Concerning the Contemporary

VIIID1 Geeta Kapur (b. 1943) ‘Contemporary Cultural Practice: Some Polemical Categories’

VIIID2 Slavoj Žižek (b. 1949) ‘Multiculturalism, or, the Cultural Logic of Multinational Capitalism’

VIIID3 Nicolas Bourriaud (b. 1965) from

Relational Aesthetics

VIIID4 William Kentridge (b. 1955) Interview with Dan Cameron

VIIID5 Grant Kester ‘A Critical Framework for Dialogical Practice’

VIIID6 Terry Smith (b. 1944) from

What Is Contemporary Art?

VIIID7 Hal Foster, Miwon Kwon, Chika Okeke‐Agulu, Alexander Alberro, Christopher P. Heuer, Matthew Jesse Jackson and Andrew Perchuk, Responses to a questionnaire on ‘The Contemporary’

VIIID8 Ai Weiwei (b. 1957) ‘Epilogue’ to his blog

VIIID9 Francis Alÿs (b. 1959) ‘Francis Alÿs: A to Z’

VIIID10 Romuald Hazoumè (b. 1962)

Cargoland

VIIID11 Gerardo Mosquera (b. 1945) ‘Beyond Anthropophagy’

VIIID12 Xu Bing (b. 1955) ‘On Holding a Retrospective’

VIIID13 Doris Salcedo (b. 1958) ‘A Work in Mourning’

VIIID14 Hito Steyerl (b. 1966) ‘If You Don’t Have Bread, Eat Art!’

VIIID15 Art & Language (Michael Baldwin b. 1945, Mel Ramsden b. 1944) from

Flags for Organisations

Bibliography

Copyright Acknowledgements

Index

End User License Agreement

Guide

Cover

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The Wiley Blackwell Art in Theory Series:

Art in Theory 1648–1815: An Anthology of Changing IdeasEdited by Charles Harrison, Paul Wood and Jason Gaiger

Art in Theory 1815–1900: An Anthology of Changing IdeasEdited by Charles Harrison, Paul Wood and Jason Gaiger

Art in Theory 1900–2000: An Anthology of Changing IdeasEdited by Charles Harrison and Paul Wood

Art in Theory: The West in the World – An Anthology of Changing IdeasEdited by Paul Wood and Leon Wainwright with Charles Harrison

Art in Theory: The West in the World

An Anthology of Changing Ideas

Edited by Paul Wood and Leon Wainwright with Charles Harrison

This edition first published 2021© 2021 John Wiley & Sons Ltd.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by law. Advice on how to obtain permission to reuse material from this title is available at http://www.wiley.com/go/permissions.

The right of Paul Wood and Leon Wainwright to be identified as the authors of the editorial material in this work has been asserted in accordance with law.

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Cataloguing‐in‐Publication data is available from the Library of Congress

Names: Wood, Paul, editor. | Wainwright, Leon, editor. | Harrison, Charles, 1942–2009, editor.Title: Art in theory : the west in the world : an anthology of changing ideas / edited by Paul Wood and Leon Wainwright, with Charles Harrison.Description: Hoboken, NJ : Wiley‐Blackwell, 2021. | Includes bibliographical references and index.Identifiers: LCCN 2020043586 (print) | LCCN 2020043587 (ebook) | ISBN 9781444336313 (paperback) | ISBN 9781119591412 (adobe pdf) | ISBN 9781119591399 (epub)Subjects: LCSH: Art–History.Classification: LCC N5300 .A6843 2021 (print) | LCC N5300 (ebook) | DDC 709–dc23LC record available at https://lccn.loc.gov/2020043586LC ebook record available at https://lccn.loc.gov/2020043587

Cover design by Wiley

The past is never dead. It’s not even past.          William Faulkner

Acknowledgements

Our foremost thanks go to those numerous authors and copyright‐holders who have permitted us to reproduce the texts here included and to edit them as required for the present anthology. We are also indebted to the translators and editors of previous anthologies and other publications who have made material available to us. They have all helped us to realize our intention of providing as comprehensive a collection as possible of this most complex and diverse of subjects.

In the long task of tracing and compiling material we have benefitted from the advice and assistance of friends and colleagues in The Open University and elsewhere. In the present Open University Art History Department we would particularly like to thank Emma Barker, Warren Carter, Amy Charlesworth, Kathleen Christian, Leah Clark and Renate Dohmen. (A selection of relevant publications from the department has been added as a supplement to the bibliography.) The efforts of the Document Delivery Team at the Open University Library have also been crucial.

We would like to extend special thanks to the four readers who commented and made additional suggestions for inclusion in our proposed table of contents: Michael Corris, Alex Potts, Tilo Reifenstein and Ann Stephen. We would also like to thank Michael Baldwin, Peter Berry, Richard Brown, Tom Crow, Steve Edwards, Briony Fer, Suman Gupta, Therese Hadchity, David Johnson, Donna Loftus, Robin Mackie, Siobhan McDermott, Andrew McNamara, Josh Milani, Ann Miles, Giulia Paoletti, Gill Perry, Mel Ramsden and Kim Woods.

Translations from non‐English sources have been made by Emma Barker and Encarna Trinidad Barrantes, Kathleen Christian, Hugo Miguel Crespo, Richard Dixon, Richard Elliott and Giuliana Paganucci. Chris Miller has been exceptionally helpful in his responses to last‐minute calls for translations from the French.

Among others without whose efforts this book would have been impossible to make are the many members of the production team at Wiley Blackwell in the UK and SPi in India. Jayne Fargnoli never let the project die, even during the long hiatus in its making. Rebecca Harkin was instrumental in reviving the proposal after its hibernation. The book in its actual form could not have been realized without the prolonged and conscientious efforts of Tom Bates, Juliet Booker, Simon Eckley, Dhivya Kannan, Catriona King, Jake Opie, Sundar Parkkavan and Liz Wingett. Diana Newall undertook the online searching of historical sources in the early stages. Andrew McNamara’s assistance in Australia helped enormously. Alex Potts has been supportive throughout in a host of different ways, ranging from the sourcing of texts to critical reading of editorial materials. Felicity Marsh steered the book through the long and complex process of its production during the difficult, demanding circumstances of 2020. Roberta Wood prepared the manuscript and formed a crucial link between the editors and the publisher; Art in Theory: The West in the World would not have been possible without her work.

Paul WoodLeon Wainwright

A Note on the Presentation and Editing of Texts

Art in Theory: The West in the World has a particular shape. The epigraph to the book says ‘the past is never dead’; nonetheless, the form the book takes respects the widespread contemporary preoccupation with the present. Half of the book is devoted to the twentieth and twenty‐first centuries. Thus the shape of the book involves a deliberate strategy: to insist on connections with the past, even the distant past, over the entire long period with which we are concerned, but also to emphasize the influence of the recent past on artistic and intellectual activity in the present.

When a published document, such as an essay, was originally given a title, this has generally been used for the present publication, in single quotation marks. Titles of books and exhibitions are given in italics. The term ‘from’ preceding a title – usually a book – signifies that we have taken a specific extract or extracts from a longer text without seeking to represent the argument as a whole. As a rule, shorter texts are either reproduced in their entirety or edited to indicate the argument of the whole. Where no suitable original title was available, we have given descriptive headings without quotation marks. The title of the whole work, its date of either composition or, if different, its publication, as well as its previously published source, are given in the introduction to each text. All published sources of anthologized texts are also given in alphabetical order in the bibliography.

It is the aim of this anthology that it be as wide‐ranging as possible. We have therefore preferred the course of including a greater number of texts of which several must appear in abbreviated form, to the course of presenting a small number in their entirety. Texts have been variously edited to shorten them, to eliminate references which cannot be explained in the space available and, where necessary, to preserve the flow of argument.

Anthologies can be dangerous. We are opposed to the practice of making historical authors into the puppets of those who come after them. We are aware of several examples of anthologies where elisions made by modern editors are either very lightly flagged, or even on occasion not acknowledged at all. We feel this damages the credibility of the edited text. While no editing process can ever be wholly disinterested, we have always tried, as far as possible, to let the original author speak in his or her own voice. It has been our practice throughout the Art in Theory series to indicate clearly where, and to what extent, texts have been edited. For this purpose we have used three conventions, consistent with the preceding volumes of Art in Theory. Suspended points ‘…’ are used for short omissions, a few words or a phrase within a sentence, or at most a few sentences. Suspended points within square brackets ‘[…]’ are used to denote longer omissions of several sentences or paragraphs. Asterisks ‘* * *’ denote more substantial omissions extending to several pages or a complete subdivision – such as a chapter or several chapters – of the original text. The only exceptions to this rule have been made for the sake of legibility. Thus, if there is a sequence of cuts and we have felt that a succession of ‘[…]’ would damage the readability of the extract, we have used ‘…’. But these occasions have been kept to a minimum ‘…’.

Authors’ notes have only been included where we judged them necessary to the text as printed. For the most part, they have been silently omitted. We have generally avoided the insertion of editorial notes but have supplied essential references in the introductions to individual texts. We have silently corrected obvious typographical errors and errors of transcription where we have discovered them. In the case of older texts, we have left idiosyncrasies of spelling and style unchanged at our discretion to retain a flavour of the original, but wherever we felt these became a distraction for the modern reader, we have modernized accordingly.

Finally, it should not need saying, but we wish to underline the point that the views expressed in the anthologized texts, present as well as past, should not be taken to represent the views of the editors or the publisher. We have endeavoured to let the authors speak for themselves, and only for themselves.

General Introduction

Art in Theory: The West in the World is an anthology of over 360 documents. Its aim is to represent changing ideas about the art of societies outside Europe (and latterly North America as well) held by Western artists and writers from the beginning of the modern period until the globalized situation of the early twenty‐first century. Many of the documents are anthologized here for the first time, and this is also the first time that some of them have been translated into English. Each text is accompanied by an introduction bringing out its main points and relating them to the overarching concerns of the anthology. We believe it is the first time that such a diverse collection of texts has been attempted. Accordingly, the book may be controversial; we certainly do not expect to please all of the people all of the time. But we believe it will above all be useful to the student and interested general reader trying to respond openly to the far‐reaching changes affecting both the practice and the study of art worldwide at this moment in time.

What the present book is not is a history of world art. Insofar as the anthologized texts do present a narrative, it is a narrative told from a European – and subsequently a ‘Western’ – point of view. It thus includes the ignorance as well as the admiration, the silences and blind spots as well as the praise and emulation, that such a point of view implies. What the book also sets out to demonstrate is that this perspective from the West is not monolithic. Most notably, ideas have changed significantly over time. To state the point again: Art in Theory: The West in the World is an anthology of changing ideas, both ideas about the art of other societies and ideas stimulated by those cultures more generally, ideas that have been influential on the practice of Western art from the Renaissance to the present day.

Art and the issue of ‘globalization’

The recent period has seen a burgeoning interest in the globalization of art. Indeed, it is something of a fashionable concern. But it is more than that. Fundamental change is afoot in the ways art is made and seen, in the ways the concept of art is understood, and the ways in which the history of art is taught. Art in Theory: The West in the World is intended as a contribution to this change in how the history of art is being taught and studied. Many books now exist with words such as ‘world’ and ‘global’ in their titles. But in a post‐colonial situation where there is an understandable desire to promote diverse traditions and to challenge canonical hierarchies of art, the lack of an adequate overall historical perspective can result in a stereotyping and homogenizing of European attitudes which at its worst perpetuates some of the very failings that the global perspective sets out to redress. This is one important reason for the present collection. However, it is not just about contemporary attitudes and debates; it is not simply an argument made by contemporary scholars about the past. We have tried to let people from the past – artists, writers, philosophers, travellers – speak in their own words about the objects and ideas they encountered; their words are their own, and frequently not those that would be chosen by or acceptable to a contemporary writer, but they are part of the historical record and we present it as it was written. It is a commonplace, of course, that no framing of the past can be wholly neutral and objective. We do have our own points of view; but as far as possible, in the process of constructing the anthology we have attempted to let our authors speak for themselves.

At the same time, the situation we represent is not one of an egalitarian dialogue. Firstly, a representative knowledge of Indian art, Chinese art, African art, pre‐Columbian American art, Oceanic art and the many and various ideas subtending them, is simply beyond the competence of the present editors; indeed, we suspect, it would, at the present time at least, be beyond anyone’s competence. More to the point, there is an inequality in the historical record itself. For most of our chosen time‐span – the period of modernity in its broadest sense – Europe, and latterly the ‘West’, has been hegemonic in terms of global power. This means there is an imbalance in the written sources available to us, as well as in our knowledge of them. Although the growing interest in the art of the whole world is bringing to light ideas and arguments which have for centuries been obscured by the European reflex that its own culture was the leading light of world civilization, the fact remains that, because of the very expansiveness of European states in the modern period, European writers have been more preoccupied with learning about and commenting on the cultures they encountered than the other way round.

To say this is to find ourselves immediately on contested terrain. For one thing, that situation has never been static. As the rest of the world has struggled to emancipate itself from the yoke of Western imperialism, so voices from beyond the core transatlantic regions (as well as dissenting voices within them) have increasingly challenged traditional Eurocentric assumptions. With increasing frequency over the last century and a half at least, voices have talked back to the West – and written back. It has been an important principle in organizing the present book to give space to the representation of those voices. The present collection is a medley of subordinate and hegemonic voices, and part of the point is that which voice is which can change over time.

That much has to be clear; but it also masks a deeper point. As we venture off the terrain of the Western canon of ‘Art’, particularly when that terrain is shaped by unequal power relations in the form of colonialism and imperialism, we have to acknowledge that the hegemony of Western textual knowledge has itself been a determining factor in what counts as ‘Art’, as material culture, and – as it were from the other side – in what count as coherent forms of cultural resistance to Western domination. When one expands the remit of a collection of changing ideas about art to the wider world, one has to make adjustments to the sense of what knowledge is, of how knowledge can be created and transmitted. If it is the case that written forms of resistance to Western domination become evident in the historical record with increasing pace from the eighteenth century, through the nineteenth and with gathering force through the twentieth century, then this is not to say that such resistance did not happen earlier, nor that a written challenge to hegemony is the only cultural resistance there is. Opposition to and dissent from the hegemony of European cultural forms can itself take forms that Europeans may not even have recognized. Oral and material knowledge have often been the stuff of these positions. This points to a limit on our project itself. We have made a book, and a book without illustrations must perforce be made of words. It is only through textual representation that we can include evidence of non‐textual practices, be these patronising descriptions of carnivals by Caribbean slave owners or the modern painter Frank Bowling’s reference to nineteenth‐century African‐American dancers and potters working against white hegemony in their own terms, in their own media, in their own day (cf IIIC4, VIB16 and VIID6). Then again, at the other end of the spectrum, contemporary art‐debate often takes place in online social media, which can just as easily slip through the net of a conventional text‐based anthology. All we can say in this regard is that in both such registers – past and present – we have done what we can to represent in book‐form as diverse a range of voices as we could.