Drawing on AimÉ CÉsaire’s rewriting of Shakespeare’s The Tempest, Erica Moiah James examines the rise of global Caribbean artists in the 1990s and their production of a decolonized art history for the Caribbean.
Drawing on AimÉ CÉsaire’s rewriting of Shakespeare’s The Tempest, Erica Moiah James examines the rise of global Caribbean artists in the 1990s and their production of a decolonized art history for the Caribbean.
Erica Moiah James is Associate Professor in the Department of Art and Art History at the University of Miami and Non-Resident Senior Research Fellow at the Visual Identities in Art and Design Research Centre, University of Johannesburg.
Inhaltsangabe
Acknowledgments vii Introduction. “Wat Wrong wit Dis Place?” 1 1. From Behind God’s Back: Janine Antoni’s Embodied Histories 37 2. Meeting in the Upper Room: Belkis AyÓn’s La Cena, 1988–1993 77 3. Historical Drag: Genre, Violence, and History in Edouard Duval-CarriÉ’s Mardigras at Fort Dimanche, 1992 121 4. The Caribbean Does Not Exist: Maurizio Cattelan’s 6th Caribbean Biennial, 1999 163 5. “Wrong Way” Lenny, Tempests, and Other DÈtournements 205 Notes 223 Bibliography 259 Index
Acknowledgments vii Introduction. “Wat Wrong wit Dis Place?” 1 1. From Behind God’s Back: Janine Antoni’s Embodied Histories 37 2. Meeting in the Upper Room: Belkis AyÓn’s La Cena, 1988–1993 77 3. Historical Drag: Genre, Violence, and History in Edouard Duval-CarriÉ’s Mardigras at Fort Dimanche, 1992 121 4. The Caribbean Does Not Exist: Maurizio Cattelan’s 6th Caribbean Biennial, 1999 163 5. “Wrong Way” Lenny, Tempests, and Other DÈtournements 205 Notes 223 Bibliography 259 Index
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