Jeremy Matthew Glick: The Black Radical Tragic: Performance, Aesthetics, and the Unfinished Haitian Revolution (2016)
Filed under book | Tags: · aesthetics, black culture, caribbean, history of literature, performance, revolution, tragedy
“As the first successful revolution emanating from a slave rebellion, the Haitian Revolution remains an inspired site of investigation for a remarkable range of artists and activist-intellectuals in the African Diaspora.
In The Black Radical Tragic, Jeremy Matthew Glick examines twentieth-century performances engaging the revolution as laboratories for political thinking. Asking readers to consider the revolution less a fixed event than an ongoing and open-ended history resonating across the work of Atlantic world intellectuals, Glick argues that these writers use the Haitian Revolution as a watershed to chart their own radical political paths, animating, enriching, and framing their artistic and scholarly projects. Spanning the disciplines of literature, philosophy, and political thought, The Black Radical Tragic explores work from Lorraine Hansberry, Sergei Eisenstein, Edouard Glissant, Malcolm X, and others, ultimately enacting a speculative encounter between Bertolt Brecht and C.L.R. James to reconsider the relationship between tragedy and revolution. In its grand refusal to forget, The Black Radical Tragic demonstrates how the Haitian Revolution has influenced the ideas of freedom and self-determination that have propelled Black radical struggles throughout the modern era.”
Publisher New York University Press, New York, 2016
America and the Long 19th Century series
ISBN 9781479844425, 147984442X
Filed under catalogue | Tags: · africa, art, art history, asia, caribbean, colonialism, contemporary art, diaspora, eastern europe, ethnocentrism, globalisation, latin america, middle east, multiculturalism, postcolonialism, south america
Catalogue of an exhibition held 18 May-14 August 1989 at the Centre Pompidou and La Grande Halle-La Villette, curated by Jean-Hubert Martin with the assistance of Jan Debbaut, Mark Francis, Jean-Louis Maubant, Aline Luque, André Magnin and Jacques Soulillou.
“An exhibition loved and hated in equal measure, Martin curated the show to address the fact that there were, as he put it, “one hundred percent of exhibitions ignoring 80 percent of the earth.” He attempted to engage critically with certain aspects of neo-colonial mentality in the West, particularly a resurgent interest in ‘primitivism,’ which Martin felt aestheticized exotic cultures without destablilizing western definitions of fine art, modernism, or identity. The exhibition included works by 100 artists (50 from the so called ‘West’ and 50 from the ‘margins’), attempting to show all on equal footing. The success of this attempt is still disputed and discussed in terms of the exhibition history of the past twenty-odd years, but it remains undeniable that the exhibition enacted an important break with some of the conventions of exhibition-making and strictly defined notions of modernism. Exhibited artists included Marina Abramovic, John Baldessari, Mike Chukwukelu, Braco Dimitrijevic, Yongping Huang, Boujemaa Lakhdar, Richard Long, Sigmar Polke, Jangarh Singh Shyam, Ulay, Jeff Wall, Jimmy Wululu, etc. ” (Source)
With essays by Jean-Hubert Martin, Aline Luque, Mark Francis, André Magnin, Pierre Gaudibert, Thomas McEvilley, Homi Bhabha, Jacques Soulillou, Bernard Marcadé.
Publisher Editions du Centre Pompidou, Paris, 1989
ISBN 2858504989, 9782858504985
Interview with curator (Benjamin H.D. Buchloh, Art in America, 1989, EN)
Reviews: 10 French press reviews (1989), more, list of reviews (1989, 30 pp).
Analysis and commentary: Special issue of Les Cahiers du Musée National d’Art Moderne (1989, FR, 101 MB, added on 2019-8-14), Special issue of Third Text (1989, EN), Thomas McEvilley (1990, EN), Cesare Poppi (engage, 2003, EN), Hal Foster et al (2004/07, EN), Daniel Soutif (2005, FR), Reesa Greenberg (Art Journal, 2005, EN), Maureen Murphy (Critique d’art, 2013, FR/EN), Pablo Lafuente (2013, EN), Annie Cohen-Solal (Stedelijk Studies, 2014, EN), Adam Jasper (AU&NZ Journal of Art, 2014, EN), Julia Friedel (C&, 2016, EN).
Short documentary (1989)
Pompidou’s 25th anniversary exhibition (2014)
Film retrospective at Tate (2014)
PDF (168 MB)Comment (0)
Filed under book | Tags: · africa, caribbean, colonialism, consciousness, epistemology, existentialism, historicism, history of philosophy, knowledge, marxism, ontology, philosophy, poeticism, poststructuralism
“Caliban’s Reason introduces the general reader to Afro-Caribbean philosophy.
In this ground-breaking work, Paget Henry traces the roots of this discourse in traditional African thought and in the Christian and Enlightenment traditions of Western Europe. Since Afro-Caribbean thought is inherently hybrid in nature and marked by strong competition between its European and African orientations, Henry highlights its four main influences–traditional African philosophy, the Afro-Christian school, Poeticism and Historicism–as his organizing principle for discussion.
Offering a critical assessment of such writers as Wilson Harris, Derek Walcott, Edward Blyden, C.L.R. James and George Padmore, Caliban’s Reason renders a much-needed portrait of Afro-Caribbean philosophy and fills a significant gap in the field.”
Publisher Routledge, 2000
Africana Thought series
ISBN 0415926459, 9780415926454
Reviews: H. Adlai Murdoch (SubStance, 2002), Claudette Anderson (Small Axe, 2002), Charles Mills (Phil Review, 2003), Clevis Headley (Int’l J of African Hist Studies, 2003), Leslie R. James (North Star, 2004).
Interview with author (Linda Martín Alcoff, 2003)Comment (0)