Abstract
Art of the African diaspora has become the focus of various curatorial interests in displaying and documenting an expanded, circum-Atlantic geography of blackness based on a notion of diaspora that once seemed promising for imagining an inter- or transnational community. However, the recent application of the diaspora concept to curatorial spaces has become susceptible to a provincializing attitude grounded in United States-centered experiences. This essay interrogates the ways in which such a U.S. locus for the African diaspora generates a hegemonic spatio-temporal scheme of new “margins” and “centers.” With reference to visual examples, it recognizes attempts among artists and curators in Britain and the Anglophone Caribbean to dismantle and disavow the hegemonic use of race and the diaspora concept as founding categories of art historiography and of public memory.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
