Slade, London, Asia: Contrapuntal Histories between Imperialism and Decolonization 1945–1989 (Part 1)
Clicks: 1
ID: 299105
2021
Article Quality & Performance Metrics
Overall Quality
Not rated
Combines reader engagement with the AI quality analysis. This
article has not been analysed, so there is no overall score —
reader engagement is measured and shown alongside.
Reader Engagement
0.0
/100
1 views
0 readers
AI Quality Assessment
Not analyzed
Readership in this journal
Ranked #30 of 43 articles by views in British Art Studies
Most read
Least read
Bar heights use a square-root scale.
Mint this article as an NFT
Not yet mintedCreate a permanent, verifiable on-chain record of this article on the Scimatic Network. The NFT is held in your Journament account, and you can withdraw it to your own wallet at any time.
5
SUSD
one-off · no wallet required
Abstract
This feature takes the Slade School of Fine Art as the starting point for a global microhistory and reimagines ways of engaging with, co-constituting, and curating a research archive in pursuit of this endeavour. It consists of two parts: contributions in this issue of British Art Studies focus on the immediate post-war period, roughly 1945 to 1965, and a forthcoming second part will consider the 1960s to the 1990s. In this issue, the feature comprises a narrative history that interrogates the Slade's role as a contrapuntal node, and a companion archival feature that brings together materials from multiple institutional and personal archives in Asia and the United Kingdom (UK). Building upon Edward Said's use of the musical metaphor of contrapuntalism to address both the presence of empire in the metropolis and the construction of a transnational counterpoint with multiple voices, this project seeks to surface histories at the intersection of art education, imperialism, and decolonization. By using the Slade as a transversal line that connects multiple people and histories from Bangladesh, India, Pakistan, Hong Kong, Taiwan, Indonesia, Singapore, Nigeria, Sudan, Uganda, Britain and beyond, this essay proposes new ways of writing histories of contrapuntal—not multiple—modernisms, as well as understanding art in Britain itself as a product of empire.
| Reference Key |
openalex_W3185166237
Use this key to autocite in the manuscript while using
SciMatic Manuscript Manager or Thesis Manager
|
|---|---|
| Authors | Liz Bruchet, Ming Tiampo |
| Journal | British Art Studies |
| Year | 2021 |
| DOI |
10.17658/issn.2058-5462/issue-20/tiampobruchet
|
| URL | |
| Keywords | Keywords not found |
Citations
No citations found. To add a citation, contact the admin at info@scimatic.org
Comments
No comments yet. Be the first to comment on this article.