Picturing Whiteness: Race Representation in the National Collection of British Art 1700s to Now

尽管他们表面上的进步定位，全球北方的当代艺术机构通过他们在艺术作品中优先考虑白色主题和世界观，揭示了持续的种族偏见;偏爱西方美学话语;有色人种艺术家的客观化或不包括，以及对他们的观众种族身份的隐蔽假设。这项博士研究旨在询问并使泰特英国美术馆档案中的艺术作品中的“白”的显性和隐性特权变得可见。这项博士研究的目标是：-揭示哲学和社会文化的决定因素，塑造白色的思想模式，在泰特收藏的作品中显而易见，以证明白色是文化特定的;-确定如何表示，从而对白色的理解随着时间，地点和艺术家的位置而变化;-证明白色身份是交叉的，而不是单一的，以破坏白色的集体规范力量;- 通过询问泰特收藏品中所代表的种族，民族和民族主义之间的各种关系，表明“英国性”既不稳定，也不具有民族或种族偶然性;-使用迄今为止被贬低的美学哲学作为合法的替代品，以重新审视多元文化主义的后现代主义叙事（Oguibe & Enwezor 1999）和其他经典化的美学论点。总之，这些目标描绘了白色文化，以实现提供方法学框架，认识到结构的权力和假设内在的whitegaze的总体目标。这种方法将是创新的，因为在全球北方的艺术机构的背景下，对种族表现的分析往往会无意中通过从主导哲学的角度探索所谓的边缘化身份来延续种族化的结构霸权（Okoye 1996）。相反，这项研究将寻求扭转视线，将白色从其广泛不受挑战的普遍主体地位和“重新中心化”的非殖民化知识体系中分散出来（Mbembe 2015），从而接近一种真正异质的（Radhakrishnan 1987）艺术史方法论的重新构建，不寻求将非欧洲哲学同化到欧洲框架中（Mignolo 2001;Dabashi 2016）。这项博士研究可以为白色展览提供初步基础，这是对“描绘黑暗”的回应。'.

Despite their ostensibly progressive positioning, contemporary art institutions in the Global North reveal ongoing racialised biases through their prioritisation of white subjects and worldviews in artworks; favouring of Western aesthetic discourse; objectification or non-inclusion of artists of colour, and adoption of covert assumptions of their viewerships' ethnic identities. This doctoral research seeks to interrogate and make visible both the overt and the philosophically implicit privileges of 'whiteness' in art works in the Tate Britain archives. The objectives of this doctoral research are to:- Reveal the philosophical and socio-cultural determinants that shape white modes of thought as apparent in the works of the Tate collections to demonstrate that whiteness is culturally-specific;- Determine how representations and thus understandings of whiteness have varied across time,place, and artist positionality;- Demonstrate that white identities are intersectional, not monolithic, with a view to disrupting the collective normative power of whiteness;- Show that 'Britishness' is neither stable, nor ethnically or racially contingent, by interrogating the varying relationships between race, ethnicity and nationalism as represented in the Tate collection;- Employ hitherto deprioritised aesthetic philosophies as legitimate alternatives to prevailinghegemonic postmodernist narratives of multiculturalism (Oguibe & Enwezor 1999), and othercanonised aesthetic arguments. Together, these objectives delineate white cultures in order to achieve the overall aim of providing amethodological framework that recognizes the structural power and assumptions inherent within the whitegaze. This approach would be innovative because analysis of race representations in the context of artinstitutions in the Global North tend to unintentionally perpetuate racialised structural hegemonies byexploring so-called marginalised identities from a dominant philosophical perspective (Okoye 1996). Thisresearch, conversely, would seek to reverse the gaze, decentring whiteness from its widely unchallengeduniversal subject position and 'recentring' decolonised knowledge systems (Mbembe 2015), thusapproaching a truly heterogeneous (Radhakrishnan 1987) reframing of art historical methodology, thatdoes not seek to assimilate non-European philosophies into a European framework (Mignolo 2001;Dabashi 2016). The doctoral research could provide the initial basis for an exhibition of whiteness, a response to 'Picturing Blackness...'.