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Touring Britishness: International display and domestic multiculturalism
| Location: | Oregon, United States |
| Call for Papers Deadline: | 2003-01-15 (Archive) |
| Date Submitted: |
2002-12-18 |
| Announcement ID: |
132205 |
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We seek papers for a session we are organizing for the annual meeting of the North American Conference on British Studies (Portland, Oregon, October 24-26, 2003)on the significance of exhibitions of British art that debut in Great Britain but subsequently travel abroad. In particular, we want to explore how to make sense of the fact that exhibitions of British art traveling internationally elude questions of Britishness, especially relationships of citizenship and ethnicity that today so many artists and scholars active in Great Britain, in other words, domestically, emphasize in their work. For example, "Exposed: The Victorian Nude" debuted at Tate Gallery Britain (2001), after which it traveled to Munich. Currently it can be seen at the Brooklyn Museum, from where it will go on to Japan. In regard to the exhibition itself and as the exhibition engages with the venues in which it has and will appear, what does Exposed reveal or suppress about recent scholarship reframing British imperialism, colonialism, and nationalism, as well as the conceit that “it is still the case that when people think of Britain they instinctively think of white people, and believe that Britain belongs to them” ? (Bhikhu Parekh, “Changing What it Means to be British,” The Daily Telegraph, 18 October 2000) As they travel outward from Great Britain, what kinds of Britishness do exhibitions of British art seek to advance and constitute? What does the art afford the various international venues in which it appears? In that Britains “belong to different religions and regions, and cherish their Scottish, Yorkshire, Welsh, Irish, Catholic, Jewish, Muslim and Protestant identities,” to what extent - internationally and/or domestically - do the exhibitions “foster a common sense of belonging among these groups [thus forging] a single national community with a firm sense of collective purpose and identity”? (Parekh, 2000) Please e-mail your abstract (300 word limit) and cv (2 page limit) to both:
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Jennifer Way
Email: JWay@unt.edu
Sara-Jayne Parsons
School of Visual Arts
University of North Texas
P.O. Box 305100
Denton, TX 76201
Email: parsons@unt.edu
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