Ethnicity and internationally: New British art and diaspora-based blackness

Third Text

Volumn 13, Issue 49, 1999, Pages 51-62

  Mercer, Kobena ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61149158069     PISSN: 09528822     EISSN: None     Source Type: Journal    
DOI: 10.1080/09528829908576822     Document Type: Review

References (32)

1. Simon Ford, 'The Myth of the Young British Artist'(1996), in Duncan McCorquodale, Naomi Siderfin and Julian Stallabrass (eds), Occupational Hazard: Critical Writing on Recent British Art, Black Dog, London, 1998,pp 132-141
2. Michael Bracewell, England is Mine: Pop Life in Albion from Wilde to Goldie, Harper Collins, London, 1997,pp 229-230
3. Hal Foster, The Return of the Real: The Avant-Garde at the End of the Century, MIT Press, Cambridge, Mass.,Chapters 5 and 6, especially fn 52, p 283
4. Angela McRobbie, 'But Is It Art?', Marxism Today,November-December, 1998, p 56
5. Patricia Bickers, 'How Others See Us: Towards a History of Recent Art from Britain', in Bernice Murphy (ed), Pictura Britannica: Art From Britain, Museum of Contemporary Art, Sydney, 1997, pp 65-88. New Labour's reasoning behind 'Cool Britannia' is illuminated by Mark Leonard, Britain TM: Renewing Our Identity, Demos, London, 1997
6. Gavin Jantjes, The Long March from 'Ethnic Arts' to 'New Internationalism", in Ria Lavrijsen (ed), Cultural Diversity in the Arts, Royal Tropical Institute,Amsterdam, 1993, pp 59-66
7. Niru Ratnam, 'Invisible INIVA', Art Monthly, no 211,November 1997, p 16
8. Stuart Morgan, 'The Elephant Man', Frieze, no 15,March-April 1994, pp 40-43
9. Coco Fusco, 'Fantasies of Opportunity' [1998], in English is Broken Here, New Press, New York, 1994
10. When 'fashion becomes the dictator as to how long an issue can be sustained in the public eye... whatever progress can be made in an "in" area, like multiculturalism, will be lost as soon as the issue is no longer "fresh"', writes David Barrett, "'First Generation Reproduction' [1996], in Murphy (ed), op cit, p 126
11. Peter Suchin, 'After a Fashion: Regress as Progress in Contemporary British Art', in McCorquodale et al (eds), op cit, pp 96-111
12. Stuart Hall, 'Gramsci and us' [1987], in The Hard Road to Renewal, Verso, London, 1988, p 164
13. Howardena Pindell, 'Art (World) & Racism', Third Text, no 3/4, Spring-Summer 1988, pp 157-190. Similar shifts in the UK are examined in Janice Cheddie,'Storm Damage', make, no 76, June-July 1997, pp 15-16
14. Jean Fisher, 'The Syncretic Turn: Cross-Cultural Practices in the Age of Multiculturalism', in Melina Kalinovska (ed). New Histories, Institute of Contemporary Arts, Boston, 1996, p 35
15. Herman Gray, Watching 'Racé: Television and the Struggle for Blackness, University of Minnesota Press,Minneapolis, 1995, p 230
16. Henry Louis Gates Jr, 'Black London', The New Yorker,April 28-May 5 1998, p 199
17. Stuart Hall, 'New Ethnidties', in Black Film/British Cinema, ICA Documents no 7, Institute of Contemporary Art, London, 1988
18. See my 'Art That is Ethnic in Inverted Commas',frieze, no 35, November-December 1995, and 'InterCulturality is Ordinary' in Ria Lavrijsen (ed), Intercultural arts education and municipal policy, Royal Tropical Institute, Amsterdam, 1997
19. Yinka Shonibare, 'Fabric, and the Irony of Authenticity', in Nikos Papastergiadis (ed),Annotations, no 2, inlVA, London, 1996, p 40
20. Kelly Jones,'In the Thick of It: David Hammons and Hair Culture in the 1970s', Third Text, no 44, Autumn 1998, pp 17-24
21. See texts by Godfrey Worsdale, Lisa Corrin and Kodwo Eshun in Chris Ofili, exhibition catalogue.Serpentine Gallery, London, and Southampton City Art Gallery, 1998
22. In Patricia Bickers, 'Let's Get Physical', Art Monthly, no 202, December-January 1996-7, p 4
23. Iwona Blazwick, in 'Oh My God! Some notes from a conversation with Jaki Irvine and Steve McQueen,make, no 74, February-March 1997, p 7
24. John Roberts, 'Mad For It! Philistinism, the Everyday and the New British Art', Third Text, no 35, Summer 1996, p 29
25. Renèe Green, 'Artist's Dialogue', in Alan Read (ed),The Fact of Blackness: Frantz Fanon and Visual Representation, Bay Press, Seattle, 1996, p 146
26. Stuart Hall, The Local and the Global Pt 1:Globalisation and Ethnicity',in Anthony King (ed).Culture, Globalisation and the World System, State University of New York, Binghampton, 1991, p 29.Neo-liberal wishes for a race-free future are critically dissected in Paul Gilroy, Joined-Up Politics and PostColonial Melancholia, ICA Diversity Lecture, Institute of Contemporary Arts, London, 1999
27. In Nikos Papastergiadis, 'Global Proposals: A Conversation with Gilane Tawadros', in Dialogues in Diaspora, Rivers Oram, London, 1998, p 136
28. See Nikos Papastergiadis, The Complicities of Culture:Hybridity and 'New Internationalism', Cornerhouse Communique no 4, Cornerhouse Gallery, Manchester,1994; and 'Back to Basics: British Art and the Problems of a Global Frame', in Murphy, op cit, pp 124-145
29. Homi Bhabha, 'Beyond the Pale: Art in the Age of Multicultural Translation', in Elisabeth Sussman et al (eds), 1993 Biennial Exhibition, Whitney Museum of American Art/Abrams, New York, 1993
30. Ann Walmsley, The Caribbean Artists Movement 1966-1972: A Literary and Cultural History, New Beacon,London and Port of Spain, 1992
31. Insights from 'The Syncretic Turn' are expanded in Jean Fisher, 'The Work Between Us', in Okwui Enwezor (ed), Trade Routes: History and Geography,catalogue to the 2nd Johannesburg Biennale, Greater Johannesburg Metropolitan Council and Prince Claus Fund, 1997
32. Stuart Hall, 'When Was the Post-Colonial? Thinking at the Limit', in Lidia Curti and Iain Chambers (eds). The Post-Colonial Question, Routledge, London and New York, 1996. Relatedly, see Bruce Robbins and Pheng Cheah (eds), Cosmopolitics: Thinking and Feeling Beyond the Nation, University of Minnesota Press, Minneapolis,1998