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

尽管全球北方的当代艺术机构表面上是进步的，但它们通过优先考虑艺术品中的白人题材和世界观、偏袒西方审美话语、对象化或不纳入有色人种艺术家以及对观众的种族身份采取秘密假设，揭示了持续存在的种族主义偏见。这项博士生研究试图在英国泰特美术馆的艺术作品中，公开和隐含着白种人的特权，并将其公之于众，并使之显露出来。这项博士研究的目标是：-揭示塑造泰特收藏作品中明显的白人思维模式的哲学和社会文化决定因素，以证明白人是特定于文化的；-确定对白人的表现形式和因此对白人的理解如何随时间、地点和艺术家的位置而变化；-展示白人身份是交叉的，而不是单一的，以期扰乱白人的集体规范力量；-通过询问泰特收藏中所代表的种族、民族和民族主义之间的不同关系，表明“英国性”既不稳定，也不是种族或种族偶然性；-使用迄今被剥夺的美学哲学作为盛行的霸权主义后现代主义多元文化主义叙事的合法替代方案(Oguibe&Enwezor 1999)，以及其他经典化的美学论点。总而言之，这些目标勾勒出白人文化，以实现提供不同方法框架的总体目标，该框架承认白人文化中固有的结构性力量和假设。这种方法将是创新的，因为在全球北方艺术机构的背景下对种族表现的分析往往无意中通过从主导的哲学角度探索所谓的边缘化身份而使种族主义的结构性霸权永久化(Okoye 1996)。相反，这项研究将寻求扭转这种凝视，将白色从其广受挑战的普遍学科地位中分离出来，并“重新审视”非殖民化的知识体系(姆本贝2015)，从而接近一种真正的异质(Radhakrishnan，1987)艺术史方法论的重建，它不寻求将非欧洲哲学同化到欧洲框架中(Mignolo 2001；Dabashi 2016)。这项博士研究可能会为一场白色展览提供初步的基础，这是对《描绘黑色……》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...'.