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Mapping Modernisms is an excellent addition to any collection exploring the history of modernity and the decolonisation of modern art histories, and proposes a new conceptualization of modernity that would benefit any collection looking to re-examine its role in post-colonialism. -- Marianne R. Williams * ARLIS/NA Reviews * The wide-ranging and meticulously researched essays in Mapping Modernisms focus on indigenous artists from Inuit, Zulu, Maori, Pueblo, and Aboriginal cultures, among others, around the world. . . . What emerges from Mapping Modernisms is that Modernism was not a process of diffusion from Western centers to non-Western peripheries, as it is traditionally constructed in Western narratives, but rather a complex web of mutual in??uences and exchanges across the globe. -- Naomi Polonsky * Hyperallergic *

The wide-ranging and meticulously researched essays in Mapping Modernisms focus on indigenous artists from Inuit, Zulu, Maori, Pueblo, and Aboriginal cultures, among others, around the world. . . . What emerges from Mapping Modernisms is that Modernism was not a process of diffusion from Western centers to non-Western peripheries, as it is traditionally constructed in Western narratives, but rather a complex web of mutual in??uences and exchanges across the globe. -- Naomi Polonsky * Hyperallergic * Mapping Modernisms is an excellent addition to any collection exploring the history of modernity and the decolonisation of modern art histories, and proposes a new conceptualization of modernity that would benefit any collection looking to re-examine its role in post-colonialism. -- Marianne R. Williams * ARLIS/NA Reviews *

The wide-ranging and meticulously researched essays in Mapping Modernisms focus on indigenous artists from Inuit, Zulu, Maori, Pueblo, and Aboriginal cultures, among others, around the world. . . . What emerges from Mapping Modernisms is that Modernism was not a process of diffusion from Western centers to non-Western peripheries, as it is traditionally constructed in Western narratives, but rather a complex web of mutual in??uences and exchanges across the globe. -- Naomi Polonsky * Hyperallergic *

"""The wide-ranging and meticulously researched essays in Mapping Modernisms focus on indigenous artists from Inuit, Zulu, Māori, Pueblo, and Aboriginal cultures, among others, around the world. . . . What emerges from Mapping Modernisms is that Modernism was not a process of diffusion from Western centers to non-Western peripheries, as it is traditionally constructed in Western narratives, but rather a complex web of mutual inuences and exchanges across the globe."" -- Naomi Polonsky * Hyperallergic * ""Mapping Modernisms is an excellent addition to any collection exploring the history of modernity and the decolonisation of modern art histories, and proposes a new conceptualization of modernity that would benefit any collection looking to re-examine its role in post-colonialism."" -- Marianne R. Williams * ARLIS/NA Reviews * ""Mapping Modernisms is a concise and carefully compiled selection of essays and art works from across historical and geographical spectrums, which challenge the relationship between postcolonialism and metahistorical concepts of modernity."" -- Natalie Ilsley * Visual Studies * ""Dispelling assumptions of the past, the authors reveal the artist to be as cognizant of the exigencies of their complicated histories and lives, as they are in command of their expressive forms. Mapping Modernism sheds much needed light onto the artistic production of modernist artists living in post- and neocolonial countries in the early twentieth century."" -- Cécile Rose Ganteaume * Transmotion * “Mapping Modernisms keys in to several recent trends in cultural studies and art history, including transnationalism, global Indigeneity, and definitions of modernism and modernity. It addresses all of them in productively thought-provoking—and overtly political—ways. This is a volume with an agenda that is both timely and overdue, and, as their comprehensive and rousing introduction makes clear, the editors know it.” -- Louise Siddons * Canadian Journal of History *"

Author Information

Elizabeth Harney is Associate Professor of Art History at the University of Toronto and author of In Senghor's Shadow: Art, Politics, and the Avant-Garde in Senegal, 1960-1995, also published by Duke University Press, and Ethiopian Passages: Contemporary Art from the Diaspora. Ruth B. Phillips is Professor of Art History at Carleton University and author of several books, including Museum Pieces: Toward the Indigenization of Canadian Museums and Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700-1900.

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