The opening of the Met Breuer with African American painter Kerry James Marshall’s retrospective during its inaugural year is one such example. Another is London’s Tate Modern, which opened its recent expansion with artists of African and Asian descent featuring prominently, such as in a retrospective of Lebanese-born artist of Palestinian descent Mona Hatoum, who has been based in Britain since the 1970s. 2013’s rehang of the Tate Britain also shows an impressive number of artists of African, Caribbean, and Asian descent. These institutions feature significantly in defining the Art Establishment, by virtue of their size, resources, and locations in the world’s cultural capitals. It seems as if that Establishment is recognizing the contributions of a widening circle of influential artists, and this includes those of artists of African descent.

This panel invites submissions that investigate the ways in which prominent cultural institutions in the African diaspora represent the creative contributions of artists of African descent within their respective countries’ art histories, and how these have evolved from the era of slavery and colonial rule up to the present day. Of particular interest are studies that focus on these evolutions over the past three decades, when contemporary art witnessed an increasing interest in and attention to 1990s identity politics and turn of the 21st century globalized and hybrid identities.

Please submit abstracts of 250-300 words by March 14, 2017 to Monique.Kerman[at]wwu.edu. Be sure to include your full name, institutional affiliation, and contact details in the abstract.