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Spaces of New Colonialism

Reading Schools, Museums, and Cities in the Tumult of Globalization


Edited By Cameron McCarthy, Koeli Moitra Goel, Ergin Bulut, Warren Crichlow, Brenda Nyandiko Sanya and Bryce Henson

Spaces of New Colonialism is an edited volume of 16 essays and interviews by prominent and emerging scholars who examine how the restructuring of capitalist globalization is articulated to key sites and institutions that now cut an ecumenical swath across human societies. The volume is the product of sustained, critical rumination on current mutations of space and material and cultural assemblages in key institutional flashpoints of contemporary societies undergoing transformations sparked by neoliberal globalization. The flashpoints foregrounded in this edited volume are concentrated in the nexus of schools, museums and the city. The book features an intense transnational conversation within an online collective of scholars who operate in a variety of disciplines and speak from a variety of locations that cut across the globe, north and south. Spaces of New Colonialism began as an effort to connect political dynamics that commenced with the Arab spring and uprisings and protests against white-on-black police violence in US cities to a broader reading of the career, trajectory and effects of neoliberal globalization.

Contributors look at key flashpoints or targets of neoliberalism in present-day societies: the school, the museum and the city. Collectively, they maintain that the election of Donald Trump and the Brexit movement in England marked a political maturation, not a mere aberration, of some kind—evidence of some new composition of forces, new and intensifying forms of stratification, ultimately new colonialism—that now distinctively characterizes this period of neoliberal globalization.

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Chapter Ten Museums of Modern Art and the End of History (Stuart Hall)


chapter ten

Museums of Modern Art and the End of History

stuart hall

Reprinted with permission from Annotations 6: Modernity and Difference (pp. 8–23), by Stuart Hall and Sarat Maharaj, edited by Sarah Campbell and Gilane Tawadros, 2001, London: Institute of International Visual Arts.

I have no authority to address this occasion either as an art critic or as a historian—a lack which I find curiously liberating in this distinguished company. I am very involved in some areas of the practice of visual arts in Britain at the moment, as I have the honour to chair the Boards of both the Institute of International Visual Arts (inIVA) and Autograph, the Association of Black Photographers. I therefore know something about the area of contemporary artistic practice which I regard as one of the liveliest, most vigorous and most creative sectors of the contemporary arts anywhere. It might therefore be useful to say something from this non-specialist point of view about what I would call the cultural ‘conditions of existence’ for the exhibition and production of contemporary art.

I put ‘exhibition’, out of sequence, first because the question of the museum is foregrounded in the conference title; and I use the expression ‘cultural conditions of existence’ in the specific sense that all important practices, art practices included, always have prior conditions of existence. ‘Conditions of existence’ are different from the notion of a determining force, in the strong sense of...

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