{"title":"当代“全球”艺术综合体中的种族嫉妒和其他侵略","authors":"Amelia Jones","doi":"10.1215/10757163-8971328","DOIUrl":null,"url":null,"abstract":"Abstract: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.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"12 1","pages":"110 - 96"},"PeriodicalIF":0.1000,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Ethnic Envy and Other Aggressions in the Contemporary \\\"Global\\\" Art Complex\",\"authors\":\"Amelia Jones\",\"doi\":\"10.1215/10757163-8971328\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract: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.\",\"PeriodicalId\":41573,\"journal\":{\"name\":\"Nka-Journal of Contemporary African Art\",\"volume\":\"12 1\",\"pages\":\"110 - 96\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2021-05-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Nka-Journal of Contemporary African Art\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1215/10757163-8971328\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Nka-Journal of Contemporary African Art","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1215/10757163-8971328","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
摘要
摘要:本文着眼于奥奎·恩维佐(Okui Enwezor)反对艺术界“西方主义”的理论，以及他在组织第11届文献展时对这一理论的实践，以反对普遍化和以欧洲为中心的“全球”艺术概念。它提供了最近在洛杉矶混合艺术/策展工作的两个例子——2019年Hauser and Wirth的大卫·哈蒙斯(David Hammons)展览和克伦肖奶牛场(Crenshaw Dairy Mart)的艺术行动主义——通过激进主义和美学干预，将Enwezor的模式扩展到特定的地点和艺术空间。
Ethnic Envy and Other Aggressions in the Contemporary "Global" Art Complex
Abstract: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.
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