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的定位是进步的，但它们在艺术作品中对白人主体和世界观的优先考虑，揭示了持续的种族化偏见；偏爱西方审美话语；将有色人种艺术家物化或排除在外，并对其观众的种族身份采取隐蔽的假设。这项博士研究旨在质疑和揭示泰特英国美术馆档案中艺术作品中“白人”的公开和哲学隐含特权。这项博士研究的目标是：-揭示哲学和社会文化的决定因素，塑造白人的思维模式，正如泰特收藏的作品中明显的那样，以证明白人是文化特有的；-确定对白色的表现和理解如何随着时间、地点和艺术家的立场而变化；-证明白人身份是交叉的，而不是单一的，以破坏白人的集体规范力量；-通过对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的质疑，表明“英国性”既不是稳定的，也不是民族或种族偶然的；-采用迄今为止被剥夺优先级的美学哲学作为主流的多元文化主义后现代主义叙事的合法替代品（Oguibe & Enwezor 1999），以及其他被奉为经典的美学论点。总之，这些目标描绘了白人文化，以实现提供方法论框架的总体目标，该框架承认白人视野中固有的结构力量和假设。这种方法将是创新的，因为在全球北方艺术机构的背景下分析种族表现，往往会从主流哲学的角度探索所谓的边缘化身份，从而无意中延续种族化的结构性霸权（Okoye 1996）。相反，这项研究将寻求逆转这种凝视，将白色从其广泛不受挑战的普遍主体地位中分散开来，并“重新集中”非殖民化的知识体系（Mbembe 2015），从而接近一种真正异质的（Radhakrishnan 1987）艺术史方法论的重构，而不是寻求将非欧洲哲学同化到欧洲框架中（Mignolo 2001;Dabashi 2016）。博士的研究可以为白色展览提供初步的基础，作为对“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...'.