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Book Chapter

Detour to the Imaginary: Stuart Hall's Writings on the Visual Arts and Culture

By
Gilane Tawadros
Gilane Tawadros
Search for other works by this author on:
This Site
Google
Doi:
https://doi.org/10.1215/9781478059332-001
  • Published:
    June 2024
This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved.

The introduction unpacks the significance of Stuart Hall’s ideas on visual art and culture, and it outlines the variety of materials included in the collection—for example, essays, lectures, reviews, catalogue texts, and conversations.

Stuart Hall, visual art, culture, imaginary, race
This content is only available as PDF.

Place of First Publication

Prologue: “
Subjects in History: Making Diasporic Identities
,” in
The House That Race Built
, ed.
Wahneema
Lubiano
 (
New York
:
Vintage
,
1998
),
289
–
300
.
Google Scholar
 
Chapter 1: “
Isaac Julien’s Workshop
,” in
Isaac Julien: Riot
(
New York
:
Museum of Modern Art
,
2013
),
222
–
31
.
Chapter 2: “
Democracy, Globalization, and Difference
,” in
Democracy Unrealized: Documenta 11, Platform 1
, ed.
Okwui
Enwezor
et al. (
Ostfildern-Ruit
:
Hatje Cantz
,
2001
),
21
–
36
.
Google Scholar
 
Chapter 3: “
The Way We Live Now
,” in
Mitra
Tabrizian
,
Beyond the Limits
(
Gottingen
:
Steidl
,
2004
),
1
–
6
.
Google Scholar
 
Chapter 4: “
New Ethnicities
,” in
Black Film, British Cinema
, ICA Document 7, ed.
Kobena
Mercer
 (
London
:
Institute of Contemporary Arts
,
1988
),
27
–
31
.
Google Scholar
 
Chapter 5: “
Threatening Pleasures: A Discussion
,” in
Sight and Sound
, n.s.
1
, no.
4
(
August
1991
):
17
–
19
.
Chapter 6: “
A Rage in Harlesden
,” in
Sight and Sound
, n.s.
8
, no.
9
(
September
1998
):
24
–
26
.
Chapter 7: “
Cultural Identity and Cinematic Representation
,” in
Exiles: Essays on Caribbean Cinema
, ed.
Mbye
Cham
 (
London
:
Africa World Press
,
1992
),
220
–
36
.
Google Scholar
 
Chapter 8: “
The After-Life of Frantz Fanon: Why Fanon? Why Now? Why Black Skin, White Masks?
,” in
The Fact of Blackness: Frantz Fanon and Visual Representation
, ed.
Alan
Read
 (
London
:
Institute of Contemporary Arts
;
Seattle
:
Bay Press
,
1996
),
12
–
37
.
Google Scholar
 
Chapter 9: “
Créolité and the Process of Creolization
,” in
Créolité and Creolization: Documenta 11, Platform 3
, ed.
Okwui
Enwezor
et al. (
Ostfildem-Ruit
:
Hatje Cantz
,
2003
),
27
–
42
.
Google Scholar
 
Chapter 10: “
Legacies of Anglo-Caribbean Culture: A Diasporic Perspective
,” in
Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds
, ed.
Tim
Barringer
,
Gillian
Forrester
, and
Barbaro Martinez
Ruiz
 (
New Haven, CT
:
Yale University Press
,
2007
),
179
–
95
.
Google Scholar
 
Chapter 11: “
Minimal Selves
,”
Identity: The Real Me
, ICA Document 6, ed.
Lisa
Appignanesi
 (
London
:
ICA
,
1988
),
44
–
46
.
Google Scholar
 
Chapter 12: “
Assembling the 1980s: The Deluge—and After
,” in
Shades of Black: Assembling Black Arts in 1980s Britain
, ed.
David A.
Bailey
,
Ian
Baucom
, and
Sonia
Boyce
 (
Durham, NC
:
Duke University Press
;
London
:
Institute of International Visual Arts
,
2005
),
1
–
20
.
Google Scholar
 
Chapter 13: “
The Vertigo of Displacement: Shifts within Black Documentary Practices,” “Critical Decade: Black British Photography in the 80s
,” ed.
Stuart
Hall
 and
David A.
Bailey
, special issue,
Ten.8
2
, no.
3
(
1992
):
14
–
23
.
Google Scholar
 
Chapter 14: “
Preface to Different
,” in
Stuart
Hall
 and
Mark
Sealy
,
Different
(
London
:
Phaidon
,
2001
),
34
–
39
.
Google Scholar
 
Chapter 15: “
‘Speak Easy’: Black in the ’70s
,” introduction to
Dennis
Morris
,
Growing Up Black in the 1970s
(
London
:
Autograph
,
2012
),
4
–
7
.
Google Scholar
 
Chapter 16: “
Reconstruction Work: Images of Post-war Black Settlement
,”
Ten.8
, no.
16
(
1984
):
2
–
9
.
Chapter 17: “
The ‘West Indian’ Front Room
,” in
The Front Room: Migrant Aesthetics in the Home
, ed.
Michael
McMillan
 (
London
:
Black Dog
,
2009
),
16
–
23
.
Google Scholar
 
Chapter 18: “
Constituting an Archive
,”
Third Text
15
, no.
54
(
2001
):
89
–
92
.
Chapter 19: “
Whose Heritage? Unsettling ‘The Heritage,’ Reimagining the Post-Nation
, in
Third Text
13
, no.
49
(Winter 1999–
2000
):
3
–
13
.
Chapter 20: “
Modernity and Its Others: Three ‘Moments’ in the Post-war History of the Black Diaspora Arts
,” in
History Workshop Journal
61
, no.
1
(Spring
2006
):
1
–
24
.
Chapter 21: “
Museums of Modern Art and the End of History
,” in
Stuart Hall and Sarat Maharaj: Modernity and Difference
, Annotations 6, ed.
Gilane
Tawadros
 and
Sarah
Campbell
 (
London
:
Institute of International Visual Arts
,
2001
),
8
–
25
.
Google Scholar
 
Chapter 22: “
Modernity and Difference: A Conversation between Stuart Hall and Sarat Maharaj
,” in
Changing States: Contemporary Art and Ideas in an Era of Globalization
, ed.
Gilane
Tawadros
 (
London
:
Institute of International Visual Arts
,
2004
),
286
–
91
.
Google Scholar
 
Chapter 23: “
Chris Ofili in Paradise: Dreaming in Afro
,” in
Chris
Ofili
,
Within Reach: British Pavilion, 50th Venice Biennale: 15 June to 2 November 2003, vol. 1, Words
(
London
:
Victoria Miro Gallery
,
2003
), unpaged.
Google Scholar
 
Chapter 24: “
Maps of Emergency: Fault Lines and Tectonic Plates
,” in
Fault Lines: Contemporary African Art and Shifting Landscapes
, ed.
Gilane
Tawadros
 and
Sarah
Campbell
 (
London
:
Institute of International Visual Arts/Forum for African Arts/Prince Claus Fund
,
2003
),
31
–
42
.
Google Scholar
 
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Contents
 references
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Contents

Selected Writings on Visual Arts and Culture: Detour to the Imaginary
Stuart Hall: Selected Writings

Selected Writings on Visual Arts and Culture: Detour to the Imaginary

By
Stuart Hall
Stuart Hall

Stuart Hall (1932–2014) was one of the most prominent and influential scholars and public intellectuals of his generation. Hall taught at the University of Birmingham and the Open University, was the founding editor of New Left Review, and was the author of Cultural Studies 1983: A Theoretical History, Familiar Stranger: A Life between Two Islands, and other books also published by Duke University Press.

Search for other works by this author on:
This Site
Google
Edited by
Gilane Tawadros
Gilane Tawadros

Gilane Tawadros is Director of the Whitechapel Gallery, Chair of the Stuart Hall Foundation, and author of The Sphinx Contemplating Napoleon: Global Perspectives on Contemporary Art and Difference.

Search for other works by this author on:
This Site
Google
Duke University Press
DOI:
https://doi.org/10.1215/9781478059332
Copyright:
This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved.
ISBN electronic:
978-1-4780-5933-2
Publication date:
2024
Chapter Contents

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References

Place of First Publication

Prologue: “
Subjects in History: Making Diasporic Identities
,” in
The House That Race Built
, ed.
Wahneema
Lubiano
 (
New York
:
Vintage
,
1998
),
289
–
300
.
Google Scholar
 
Chapter 1: “
Isaac Julien’s Workshop
,” in
Isaac Julien: Riot
(
New York
:
Museum of Modern Art
,
2013
),
222
–
31
.
Chapter 2: “
Democracy, Globalization, and Difference
,” in
Democracy Unrealized: Documenta 11, Platform 1
, ed.
Okwui
Enwezor
et al. (
Ostfildern-Ruit
:
Hatje Cantz
,
2001
),
21
–
36
.
Google Scholar
 
Chapter 3: “
The Way We Live Now
,” in
Mitra
Tabrizian
,
Beyond the Limits
(
Gottingen
:
Steidl
,
2004
),
1
–
6
.
Google Scholar
 
Chapter 4: “
New Ethnicities
,” in
Black Film, British Cinema
, ICA Document 7, ed.
Kobena
Mercer
 (
London
:
Institute of Contemporary Arts
,
1988
),
27
–
31
.
Google Scholar
 
Chapter 5: “
Threatening Pleasures: A Discussion
,” in
Sight and Sound
, n.s.
1
, no.
4
(
August
1991
):
17
–
19
.
Chapter 6: “
A Rage in Harlesden
,” in
Sight and Sound
, n.s.
8
, no.
9
(
September
1998
):
24
–
26
.
Chapter 7: “
Cultural Identity and Cinematic Representation
,” in
Exiles: Essays on Caribbean Cinema
, ed.
Mbye
Cham
 (
London
:
Africa World Press
,
1992
),
220
–
36
.
Google Scholar
 
Chapter 8: “
The After-Life of Frantz Fanon: Why Fanon? Why Now? Why Black Skin, White Masks?
,” in
The Fact of Blackness: Frantz Fanon and Visual Representation
, ed.
Alan
Read
 (
London
:
Institute of Contemporary Arts
;
Seattle
:
Bay Press
,
1996
),
12
–
37
.
Google Scholar
 
Chapter 9: “
Créolité and the Process of Creolization
,” in
Créolité and Creolization: Documenta 11, Platform 3
, ed.
Okwui
Enwezor
et al. (
Ostfildem-Ruit
:
Hatje Cantz
,
2003
),
27
–
42
.
Google Scholar
 
Chapter 10: “
Legacies of Anglo-Caribbean Culture: A Diasporic Perspective
,” in
Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds
, ed.
Tim
Barringer
,
Gillian
Forrester
, and
Barbaro Martinez
Ruiz
 (
New Haven, CT
:
Yale University Press
,
2007
),
179
–
95
.
Google Scholar
 
Chapter 11: “
Minimal Selves
,”
Identity: The Real Me
, ICA Document 6, ed.
Lisa
Appignanesi
 (
London
:
ICA
,
1988
),
44
–
46
.
Google Scholar
 
Chapter 12: “
Assembling the 1980s: The Deluge—and After
,” in
Shades of Black: Assembling Black Arts in 1980s Britain
, ed.
David A.
Bailey
,
Ian
Baucom
, and
Sonia
Boyce
 (
Durham, NC
:
Duke University Press
;
London
:
Institute of International Visual Arts
,
2005
),
1
–
20
.
Google Scholar
 
Chapter 13: “
The Vertigo of Displacement: Shifts within Black Documentary Practices,” “Critical Decade: Black British Photography in the 80s
,” ed.
Stuart
Hall
 and
David A.
Bailey
, special issue,
Ten.8
2
, no.
3
(
1992
):
14
–
23
.
Google Scholar
 
Chapter 14: “
Preface to Different
,” in
Stuart
Hall
 and
Mark
Sealy
,
Different
(
London
:
Phaidon
,
2001
),
34
–
39
.
Google Scholar
 
Chapter 15: “
‘Speak Easy’: Black in the ’70s
,” introduction to
Dennis
Morris
,
Growing Up Black in the 1970s
(
London
:
Autograph
,
2012
),
4
–
7
.
Google Scholar
 
Chapter 16: “
Reconstruction Work: Images of Post-war Black Settlement
,”
Ten.8
, no.
16
(
1984
):
2
–
9
.
Chapter 17: “
The ‘West Indian’ Front Room
,” in
The Front Room: Migrant Aesthetics in the Home
, ed.
Michael
McMillan
 (
London
:
Black Dog
,
2009
),
16
–
23
.
Google Scholar
 
Chapter 18: “
Constituting an Archive
,”
Third Text
15
, no.
54
(
2001
):
89
–
92
.
Chapter 19: “
Whose Heritage? Unsettling ‘The Heritage,’ Reimagining the Post-Nation
, in
Third Text
13
, no.
49
(Winter 1999–
2000
):
3
–
13
.
Chapter 20: “
Modernity and Its Others: Three ‘Moments’ in the Post-war History of the Black Diaspora Arts
,” in
History Workshop Journal
61
, no.
1
(Spring
2006
):
1
–
24
.
Chapter 21: “
Museums of Modern Art and the End of History
,” in
Stuart Hall and Sarat Maharaj: Modernity and Difference
, Annotations 6, ed.
Gilane
Tawadros
 and
Sarah
Campbell
 (
London
:
Institute of International Visual Arts
,
2001
),
8
–
25
.
Google Scholar
 
Chapter 22: “
Modernity and Difference: A Conversation between Stuart Hall and Sarat Maharaj
,” in
Changing States: Contemporary Art and Ideas in an Era of Globalization
, ed.
Gilane
Tawadros
 (
London
:
Institute of International Visual Arts
,
2004
),
286
–
91
.
Google Scholar
 
Chapter 23: “
Chris Ofili in Paradise: Dreaming in Afro
,” in
Chris
Ofili
,
Within Reach: British Pavilion, 50th Venice Biennale: 15 June to 2 November 2003, vol. 1, Words
(
London
:
Victoria Miro Gallery
,
2003
), unpaged.
Google Scholar
 
Chapter 24: “
Maps of Emergency: Fault Lines and Tectonic Plates
,” in
Fault Lines: Contemporary African Art and Shifting Landscapes
, ed.
Gilane
Tawadros
 and
Sarah
Campbell
 (
London
:
Institute of International Visual Arts/Forum for African Arts/Prince Claus Fund
,
2003
),
31
–
42
.
Google Scholar
 

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