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|DOI (Digital Object Identifier) Link:||http://doi.org/10.1017/S0021875813000145|
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Art of the transnational Caribbean has come to be positioned by an understanding of the African diaspora that is oriented to an American “centre,” a situation to be explored for what it reveals about the hegemonic status of the United States in the discipline of contemporary art history. The predominant uses of the diaspora concept both in art-historical narratives and in curatorial spaces are those that connect to United States-based realities, with little pertinence to a strictly transnational theorization. This has implications for how modern art and contemporary art are thought about in relation to the Caribbean and its diaspora, in a way that this article demonstrates with attention to a number of artists at multiple sites, in Trinidad, Guyana, Britain and America.
|Item Type:||Journal Article|
|Copyright Holders:||2013 Cambridge University Press|
|Keywords:||art; transnational; Caribbean African diaspora; American; United States; Trinidad; Guyana; Britain; modern contemporary diaspora artists; Americocentrism; time-space logic|
|Academic Unit/Department:||Arts > Art History
|Depositing User:||Leon Wainwright|
|Date Deposited:||09 Oct 2012 08:27|
|Last Modified:||23 Feb 2016 20:14|
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