How has belatedness shaped the historiography of the arts of North America? How have projections of belatedness shaped the inclusion or exclusion of African American, Latinx, Caribbean, and Native American art in the canon of “American art,” as well as art from regions outside the Northeast? How have the arts of Canada and Mexico been framed in dialogue with the art of the United States? Has visual studies recentred these hierarchies? In the context of the United States, how has the discipline’s emergence in dialogue with the American Mind school of American studies continued to shape the sub-field’s relationships with the wider field and canons of the history of art? How have narratives of modernist progress in abstraction shaped critics’ constructions of belatedness around artists who retain figuration? How have artists operating outside geographic and cultural “centres” of art production taken up, mimicked, or inverted expectations of cultural belatedness?
Organised by Professor Emily C. Burns (Director of the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma) and Professor David Peters Corbett (Professor of American Art and Director of the Centre for American Art, The Courtauld) as part of the ‘Belatedness and North American Art’ series.
Saturday June 17
Welcome and Introductory comments (Lecture Theatre 2)
Session 4: Belated Inclusions
'When did Indigenous art become “American”?'
Elizabeth Hutchinson
Concluding Remarks
