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The prologue opens the collection with questions about power, representation, and difference. Hall thinks about culture as the terrain for producing identity and difference, and he wonders about the place of cultural politics in the present racial conjuncture.

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
.
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
.
Chapter 3: “
The Way We Live Now
,” in
Mitra
Tabrizian
,
Beyond the Limits
(
Gottingen
:
Steidl
,
2004
),
1
6
.
Chapter 4: “
New Ethnicities
,” in
Black Film, British Cinema
, ICA Document 7, ed.
Kobena
Mercer
(
London
:
Institute of Contemporary Arts
,
1988
),
27
31
.
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
.
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
.
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
.
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
.
Chapter 11: “
Minimal Selves
,”
Identity: The Real Me
, ICA Document 6, ed.
Lisa
Appignanesi
(
London
:
ICA
,
1988
),
44
46
.
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
.
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
.
Chapter 14: “
Preface to Different
,” in
Stuart
Hall
and
Mark
Sealy
,
Different
(
London
:
Phaidon
,
2001
),
34
39
.
Chapter 15: “
‘Speak Easy’: Black in the ’70s
,” introduction to
Dennis
Morris
,
Growing Up Black in the 1970s
(
London
:
Autograph
,
2012
),
4
7
.
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
.
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
.
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
.
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.
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
.

Figures & Tables

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
.
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
.
Chapter 3: “
The Way We Live Now
,” in
Mitra
Tabrizian
,
Beyond the Limits
(
Gottingen
:
Steidl
,
2004
),
1
6
.
Chapter 4: “
New Ethnicities
,” in
Black Film, British Cinema
, ICA Document 7, ed.
Kobena
Mercer
(
London
:
Institute of Contemporary Arts
,
1988
),
27
31
.
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
.
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
.
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
.
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
.
Chapter 11: “
Minimal Selves
,”
Identity: The Real Me
, ICA Document 6, ed.
Lisa
Appignanesi
(
London
:
ICA
,
1988
),
44
46
.
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
.
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
.
Chapter 14: “
Preface to Different
,” in
Stuart
Hall
and
Mark
Sealy
,
Different
(
London
:
Phaidon
,
2001
),
34
39
.
Chapter 15: “
‘Speak Easy’: Black in the ’70s
,” introduction to
Dennis
Morris
,
Growing Up Black in the 1970s
(
London
:
Autograph
,
2012
),
4
7
.
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
.
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
.
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
.
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.
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
.
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