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Caribbean Art presents and discusses the diverse, fascinating and highly accomplished work of Caribbean artists, whether indigenous or from the diaspora, popular or high culture, rural or urban based, politically radical or religious. This expanded edition has a new preface, and has been updated to reflect on recent challenges to the ideological premises and institutions of conventional art-historical practice and their connections to histories of colonialism, Eurocentricity and race. Two new chapters focus on public monuments linked to the history of the Caribbean, and the intersections between art and tourism, raising important questions about cultural representation. Featuring the work of internationally recognized artists such as Sonia Boyce, Christopher Cozier, Wifredo Lam, Ana Mendieta, Ebony G. Patterson, Hervé Télémaque, and more than 100 others working across a variety of media, this new edition makes an important contribution to the understanding of Caribbean art and its context, in ways that invite and encourage further explorations on the subject.
A to Z of Caribbean Art is a visual overview of Caribbean art, from the beginning of the 20th century to now, and serves as a resource of information on some of the greatest artists of the region. Sequenced alphabetically, it mixes genres including drawing, painting, sculpture, photography, installation and performance. Each artist is represented by a page that shows a definitive work along with related specs, biographical details and a short text on their oeuvre. The artists come from the English-, Dutch-, French- and Spanish-speaking Caribbean; they include Hurvin Anderson, Sybil Atteck, Frank Bowling, Carlisle Chang, Renee Cox, Blue Curry, Annalee Davis, Peter Doig, John Dunkley, Embah, Joscelyn Gardner, Marlon Griffith, Nadia Huggins, Remy Jungerman, Wifredo Lam, Donald Locke, Hew Locke, Edna Manley, Tirzo Martha, Peter Minshall, Petrona Morrison, Chris Ofili, Karyn Olivier, Marcel Pinas, Sheena Rose, Jasmine Thomas-Girvan, Stacey Tyrell, Nari Ward, Barrington Watson and Aubrey Williams.
Colouring the Caribbean offers the first comprehensive study of Agostino Brunias’s intriguing pictures of colonial West Indians of colour – so called ‘Red’ and ‘Black’ Caribs, dark-skinned Africans and Afro-Creoles, and people of mixed race – made for colonial officials and plantocratic elites during the late-eighteenth century. Although Brunias’s paintings have often been understood as straightforward documents of visual ethnography that functioned as field guides for reading race, this book investigates how the images both reflected and refracted ideas about race commonly held by eighteenth-century Britons, helping to construct racial categories while simultaneously exposing their constructedness and underscoring their contradictions. The book offers provocative new insights about Brunias’s work gleaned from a broad survey of his paintings, many of which are reproduced here for the first time.
Katalog til udstilling på El Museo del Barrio, New York. March 4-July 25, 2004
Relational Undercurrents accompanies an exhibition by the same name that opens at the Museum of Latin American Art in Long Beach, California in September, 2017. The exhibition and edited volume call attention to the artistic production of the Caribbean islands and their diasporas, challenging the conventional geographic and conceptual boundaries of Latin America.
Unprecedented in scope, this book examines the modern history of the Caribbean through its artistic culture. Acknowledging the individuality of various islands, the richness of the coastal regions, and the reach of the Diaspora, Caribbean looks at the vital visual and cultural links that exist among these diverse constituencies. The authors examine how the Caribbean has been imagined and pictures, and the role of art in the development of national identity.
The Caribbean has been traditionally associated with externally devised mappings and categories, thus appearing as a passive entity to be consumed and categorized. Challenging these forces and representations, Carlos Garrido Castellano argues that something more must be added to the discussion in order to address contemporary Caribbean visual creativity. Beyond Representation in Contemporary Caribbean Art arises from several years of field research and curatorial activity in museums, universities, and cultural institutions of Jamaica, Trinidad, Martinique, Guadeloupe, Cuba, Dominican Republic, Puerto Rico, and the United States. This book explores the ways in which Caribbean individuals and communities have recurred to art and visual creativity to create and sustain public spaces of discussion and social interaction. The book analyzes contemporary Caribbean art in relation to broader discussions of citizenship, cultural agency, critical geography, migration, and social justice. Covering a broad range of artistic projects, including curatorial practice, socially engaged art, institutional politics, public art, and performance, this book is about the imaginative ways in which Caribbean subjects and communities rearrange the sociocultural framework(s) they inhabit and share.
Timed Out is a pioneering study of modern and contemporary art in the aftermath of empire. It addresses the current ‘global turn’ in the study of art by way of the transnational Caribbean, offering an in-depth account of the Atlantic world in relation to the mainstream history of art. It looks at why art of the Anglophone Caribbean and its diaspora have been placed not only "outside" but "behind" the dominant art canons, and how the politics of space and time can be used to rethink the global geography of art.This is an essential addition to the growing field of "world art studies," bringing concerns around temporality together with cross-cultural issues and debates. It shows how art and artists of the Caribbean have encountered and challenged the charges of belatedness, anachronism, provincialism, and marginalisation that are fundamental to the time-space logic of art history.
"The artists represented in this book reflect the region's hybrid culture and offer competing ideas about Caribbean identity in a variety of works done in the last six years in a wide range of media. Two introductory essays by contemporary-art historians survey the themes treated by the artists and offer insights into the different traditions and contemporary-art scenes in the region. The book contains 200 colour illustrations, including a colorplate section complemented by commentaries that place the individual works in the context of each artist's oeuvre. Artist biographies and a selected bibliography complete the volume."--BOOK JACKET.