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
- Cover
- Contents
- List of Illustrations
- General Editors’ Foreword
- Preface
- Introduction. Inside Modernity: Indigeneity, Coloniality, Modernisms
- Part I. Modern Values
- One. Reinventing Zulu Tradition: The Modernism of Zizwezenyanga Qwabe’s Figurative Relief Panels
- Two. “Hooked Forever on Primitive Peoples”: James Houston and the Transformation of “Eskimo Handicrafts” to Inuit Art
- Three. Making Pictures on Baskets: Modern Indian Painting in an Expanded Field
- Four. An Intersection: Bill Reid, Henry Speck, and the Mapping of Modern Northwest Coast Art
- Five. Modernism on Display: Negotiating Value in Exhibitions of Māori Art, 1958–1973
- Part II. Modern Identities
- Six. “Artist of PNG”: Mathias Kauage and Melanesian Modernism
- Seven. Modernism and the Art of Albert Namatjira
- Eight. Cape Dorset Cosmopolitans: Making “Local” Prints in Global Modernity
- Nine. Natural Synthesis: Art, Theory, and the Politics of Decolonization in Mid-Twentieth-Century Nigeria
- Part III. Modern Mobilities
- Ten. Being Modern, Becoming Native: George Morrison’s Surrealist Journey Home
- Eleven. Falling into the World: The Global Art World of Aloï Pilioko and Nicolaï Michoutouchkine
- Twelve. Constellations and Coordinates: Repositioning Postwar Paris in Stories of African Modernisms
- Thirteen. Conditions of Engagement: Mobility, Modernism, and Modernity in the Art of Sydney Kumalo and Jackson Hlungwani
- Fourteen. The Modernist Lens of Lutterodt Studios
- Bibliography
- Contributors
- Index
- A
- B
- C
- D
- E
- F
- G
- H
- I
- J
- K
- L
- M
- N
- O
- P
- Q
- R
- S
- T
- U
- V
- W
- Y
- Z
- Color Plates
Text
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