Ethnic Envy and Other Aggressions in the Contemporary “Global” Art Complex
Bibliographic Data
| ID | 13037530 |
|---|---|
| Authors | Amelia Jones (0000-0002-2273-7164, Amelia Jones is the Robert A. Day Professor and Vice Dean of Academics and Research in the Roski School of Art and Design, University of Southern California, Los Angeles., corresponding author) |
| Year | 2021 |
| Volume | 2021 |
| Issue | 48 |
| Pages | 96-110 |
| Publication date | 2021-05-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Nka Journal of Contemporary African Art (JOURNAL) |
| Journal identifiers | ISSN: 2152-7792 • E-ISSN: 1075-7163 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/10757163-8971328 |
| OpenAlex | W3162098905 |
| Language | EN |
| Citations received | 1 |
This article looks at Okui Enwezor’s theory of countering the art world’s “Westernisms” and his actualization of this theory in his organization of Documenta11 to mount an argument against the universalizing and Eurocentric conception of “global” art. It offers two examples of recent hybrid art/curatorial work in Los Angeles—the 2019 David Hammons show at Hauser and Wirth and the Crenshaw Dairy Mart’s arts activism—to argue for an extension of Enwezor’s model via activist and aesthetic interventions into specific sites and art spaces
Aesthetics · Argument (complex analysis · Art · Art history · Contemporary art · Ethnic group · Extension (predicate logic · Performance art · Sociology · The arts · Visual arts · Anthropology · Art, Politics, and Modernism · Computer Science · Cultural Industries and Urban Development
| Citations per year | 0.33 |
|---|---|
| Citation span | 2023 - 2023 (1) |
| Highly cited | No |