2013/04/17 by LEON WAINWRIGHT, Leon Wainwright · 15 citations
Arts and Humanities · Social Sciences · #Aesthetics #Anthropology #Art #Art history #Australian History and Society #Caribbean art #Contemporary art #Cultural Industries and Urban Development #Diaspora #Gender studies #Hegemony #History #Law #Literature #Music History and Culture #Narrative #Performance art #Philosophy #Political science #Politics #Relation (database) #Sociology #Space (punctuation)
paper · pdf · doi:10.1017/s0021875813000145
published in Journal of American Studies 47(2), 417-438 (Cambridge University Press)
openalex publication_date 2013/04/17 · openalex created_date 2025/10/10 · openalex updated_date 2026/08/04
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.